Hans

Prof.

<p>Web 2.0 is often referred to as ‘social’ or participatory. A genre of Web 2.0 to which this certainly applies is forums. Every user can take part in the communication exchange and publish his or her knowledge, experience and his or her very own opinions. This study focuses on the genre of forums. I qualitatively (and according to discourse or contentanalytical criteria) analyzed the special features of such lay communication in the context of a specific forum. In terms of content, I am referring to a forum from Germany that deals with health issues. The aim was to examine how medical professionals and medical knowledge are valued. Since it is difficult to access exact numbers of users in the context of such a forum, I selected a specific website that appears in the list of the most visited websites, and that already has a special probability of being accessed due to its URL (hence the name): www.gesundheit.de (according to the legal notice this forum is operated by Alliance Healthcare Germany, based in Frankfurt am Main). The topics were selected from posts published between December 2018 and April 2019. The contributions were transferred unchanged, i.e. including the orthographic and grammatical errors found in the original. It was reasonable to assume that a forum in which users meet to inform themselves about diseases in order to prepare themselves for or to follow-up visits at the doctor will also be looking for alternative treatments and that users who are disappointed with medical reactions will express themselves accordingly. Thus, it is the medium itself that suggests that critical positions on doctors, but possibly on clinical medicine as a whole, may dominate. The result, however, was that there is broad basic trust in medicine, at least in Germany. Against the background described, this is quite surprising. In the context of the forum examined, there was also a fundamental acceptance of the medical system as a&nbsp;whole. Whilst the purpose of this forum was assumed to be to absorb criticism and to seek alternative opinions (and, if necessary, to seek alternative therapy), there was little to no fundamental criticism. Thus, whilst this forum seems to be designed with the intent of enabling the expression of anger and frustration, there still is a dominant acceptance of medical science and even the medical profession. There is rarely criticism of individual doctors, too. If an individual physician is criticized, the authors in this forum keep their criticism with the respective doctors and very rarely propose alternative healing methods. Even with medication, there is little or no rejection of standard or conventional medicine. My hypothesis is that the function and associated seriousness that is expressed in the name of the forum may thus lead to an indeed fundamentally medicine-oriented form of discussion. As a research article, the paper of course does not and doesn’t want to make any assumptions about the reasons why (at least in the context of this forum) rationality is so fundamentally accepted. As I said, alternative methods are almost irrelevant, be they are close to the medical system, like homeopathy; be they remote to the system, such as magic. As a research article, the paper is limited to examining the facts and describing the dominance of the scientific belief system even in situations of crises and under unpleasant to lethal conditions. Another not insignificant observation is that in almost all contributions on this health forum, the assessment of the trustworthiness and the expertise of the forum authors were particularly important. This is obviously not just about the assessment of the communication partners, but also about the picture that one gives about oneself. Contributors are probably afraid of only being taken seriously if they can credibly demonstrate their own dismay or their own expertise. This may lead to problems in the relationship between ‘actual experts’ (i.e. medical professionals) and laypersons. However, here, too, it was found that surprisingly few problems have arisen.</p>

Zur Bewertung der Ärzteschaft und des medizinischen Wissens in einem Gesundheitsforum

Valeria

Ludmila

<p>In the present paper, we will engage with the important challenges posed by multimodal/multi-semiotic resources in communication. Multimodality is considered as a cultural technique and a communicative competence that guarantees mutual transparence and explicitness for interactors. We focus on the visual resource as a socially and culturally shaped semiotic resource of making meaning. In this framework the paper addresses the way knowledge and values are constructed through images as well as language usages. The paper attempts to point out a socio-cultural perspective on the understanding of multimodal texts. The paper discusses how images, as part of language-image-links, work in different socio-cultural contexts and shape our sociocultural experience and knowledge. Thus, the goal is to look at images as they represent information from a sociocultural environment. The interpretative complexity of the notions of ‘culture’ and ‘sociocultural context’ is explained. The analysis follows the position of discourse oriented cultural linguistics that presumes the situational and socio-cultural framework both for the production and the reception of utterances/texts. Methodology. Several approaches to multimodal communication have been developed. The theoretical framework of this paper was found in the theory of social semiotics according to Halliday, Kress, van Leeuwen, and in the concepts of multimodal communication and text linguistic view of the language-image-links according to Stöckl, Schmiz, Sandig and others. The present analysis is also in line with Kuße’s discourse sensitive cultural linguistics (diskurssensitive kulturwissenschaftliche Linguistik). From this theoretical perspective we show that there is a shift from the “linguist’s pride in language” (in Stöckl’s words) towards multimodality and visual methodology in meaning&nbsp;construction. We follow social semiotics in looking at how verbal and nonverbal signs (semiotics resources) are used in certain social practices. It has been emphasized in social semiotics how semiotic practices are driven by socio-cultural environments and how they are embedded in them and emerge from them. The paper looks at multimodal texts and images as they are context sensitive. Findings and Results. The theoretical reflections and text analytical observations show the explanatory charge of multimodal studies. In the provided analysis we tackle the multimodal texts and cases in point from modern German and Russian socio-cultural practice. Different types of image-language-links are considered, following the basic observations in text linguistics, namely complement and discrepancy or contrast. Multimodal metaphors and metonymy are also discussed. Visual images are iconic and also indexical (i.e. metonymic) in terms of their representation of abstract concepts and objects/events in their socio-cultural embeddedness. The authors presume that pictures should be understood in context and in combination with language. Linguistic and visual resources cooperate as they interrelate concepts. From this point of view, images are seen as an additional access point to explain meaning making process within its cognitive dimension. Next, multimodal texts, and images as a part of these texts, allow us to observe how socio-cultural work is performed. This, in turn, leads to the conclusion, that images are context embedded. In other words, they present information from the social environment. A visual image is not just an information vehicle. It is a constituent element of dynamic sense-making process. The cases under discussion show that multimodal texts could act as wrong indexicals and may cause wrong contextualization, if they are misplaced in contexts, i.e. if the context of text reception does not fit the context of text production. We can make sense of imagelanguage-texts if they fit the context. The present paper argues for more sensitivity in respect of the expansion of visual images and with regard to multimodal competence. The multimodal competence plays a crucial role in exploring the ideological and culturally specific implicatures behind the visual images. A potentially wide perspective integrating verbal text and picture within different social practices should also be considered as helpful in this framework.</p>

Multimodalität im sozio-kulturellen Kontext: mit Bildern reden, Bilder verstehen

Vjosa

Assist. Prof.

Milote

Assoc. Prof.

<p>In this article, the analysis of the metaphor “Pulverfass Balkan (Balkan Powder Keg)” shows how this metaphor has become an evaluation pattern vis-à-vis the Balkans amongst German-speakers since the First World War. The focus of the article is the investigation of the usage of this metaphor in German-language news accounts covering the Balkans from the beginning of the First World War to the present, more than a century later. The aim of the investigation is to find out which functions this metaphor has taken on as a pattern of evaluation/interpretation in German-language media discourse on the security situation in the Balkans, more specifically in the former Yugoslavia. At the same time, the intensity of use of this metaphor in times of acute crises shall be examined in comparison to times of low intensity conflict. This study also aims to show how the perception of the Balkans has developed in German-speaking countries. Routinely resorting to this metaphor, media reports have described the Balkans in general, and the former Yugoslavia in particular, as an area in which unrest has repeatedly occurred and might continue to occur. Using the metaphors of powder keg, fuse and spark, the recipient is fed with violence, threat and even fear scenarios that can trigger emotional concepts such as anxiety and fear. This article assumes that the metaphor “Pulverfass Balkan (Balkan Powder Keg)” describes a territory in which there is a high voltage that could lead to an explosion at any time. The causes of events that lead to the explosion of the powder keg are established discursively by the semantics of the lexical units “throw/be a spark” and “put a fuse”, as in the idioms “den Funken ins Pulverfass werfen/schleudern (‘throw a spark into the powder keg’); der Funke im Pulverfass sei (‘the spark in the powder keg’) and die Lunte ans Pulverfass legen (‘put the fuse on the powder keg’)”.On the basis of evidence from a press coverage corpus (109 documents), this paper examines how the metaphorical expression “powder keg” has become the evaluation/ interpretation pattern of the Balkans and to what extent this interpretation pattern can lead to an intensification of the threat potential. The corpus consists of media coverage in times of acute crises (World War I and post-Yugoslav wars) and in times of lack of them. In this way we want to determine whether the metaphorical expression “powder keg” in German-language media discourse has the same vitality and the same potential in wartime as in times of low conflict. The outbreak of WWI is considered a discursive event, expressed widely by the “powder keg” metaphor. The classic understanding of the metaphor is of a linguistic phenomenon that serves to embellish speech in a poetic and rhetorical way. Since ancient times, it has been the subject of investigation not only in linguistic but in many other scholarly fields. Metaphors are no longer regarded as mere ornaments of language in the scholarship on the metaphor. Especially since the groundbreaking publication Metaphors we live by (1980) by Lakoff and Johnson, which has been around for almost 40 years, the discussion of metaphors has been booming in many specialist disciplines. As the main representative of conceptual metaphor theory, which originated in the theoretical framework of cognitive linguistics, Lakoff and Johnson (2008 [1997]) relate the concept of metaphor to the conceptual level. This approach is based on the assumption that metaphors structure our everyday life and have a great impact on the way we think and act, i.e. language and thinking are subject to the same cognitive principles. In cognitive metaphor theory, complex and abstract phenomena can be summarized in familiar and elementary understandable concepts: conceptual metaphors actively participate in the processing of experiences. Press documents from ANNO - Historical Austrian Newspaper and Magazine Archives - serve as the material basis for the investigation for the period of the First World War. The reports from 1945 to the present consist of documents from the online archives of Der Spiegel, Tages-Anzeiger, St. Galler Tagblatt, Die Zeit, Die Presse and Euronews. The analysis shows that the metaphor “Pulverfass Balkan (Balkan Powder Keg)” inferred the following conceptual features: “instability”, “primitiveness”, “unreliability”, “ethnic and religious mixture”, “violence”, “corruption”, “lack of democracy” and “fundamentalist Islamism”. The use of the metaphor “Pulverfass Balkan (Balkan Powder Keg)” in media discourse has the function to convey attitudes and evaluations of the West as well as to convey opinions about the situation in the Balkans in general.In summary, it can be said that the Balkans have been referred to as a “powder keg” for more than a century due to political and historical events. In the documents examined, the metaphorical expression “powder keg” has always been used for the whole Balkans, the instability of which threatens the whole of Europe.&nbsp;</p>

Wahrnehmung und Evaluierung des Balkan als Pulverfass im deutschsprachigen Pressediskurs

İrem

Res. Assist.

<p>Today, with the advance of technology, our communication types have gained a multimodal characteristic. Therefore, nowadays texts are no longer seen as monomodal structures, which only include verbal messages, but as multimodal structures, that combine different semiotic codes such as language (written and/or spoken), image (still and/or moving), music (jingle and/or song and/or instrumental) and sound (natural and/ or artificial). These structures are called multimodal texts in linguistics and semiotics. Multimodal texts have a great potential for meaning making. In linguistics and semiotics, TV-Commercials are defined as multimodal texts, which use verbal, visual and auditory resources to convince a specific target group of buying a specific product or service. For this reason, they are considered as one of the most analyzed multimodal text types in these two fields. The aim of this study is to analyze German and Turkish TV-Commercials with a multimodal oriented approach. This paper also presents the similarities and differences between the multimodal structures of the analyzed TV-Commercials, respectively, multimodal texts, in two different languages. The corpus is comprised of 20 TVCommercials of chocolate and/or chocolate containing products which are produced by the German brand Ritter Sport and the Turkish brand Eti between the years 2010 and 2016. For each language, ten different TV-Commercials of the mentioned brands are chosen randomly by considering the criteria that they contain the following modalities: language, image, music and sound. The analysis criteria have been defined moving&nbsp;towards a multimodal oriented theory, that is based on text linguistics and text semiotics. The analysis focuses on the following modalities which are used in the selected corpus such as language, image, music and sound, as well as their submodalities and the intermodal relations between them. All selected TV-Commercials which comprise the corpus of this study have been analyzed by using the mentioned criteria. Since a detailed analysis of each TV-Commercial is very comprehensive, only one data is chosen from each language to show an itemized examination. The results of the analysis have been separately presented for each language, and comparatively interpreted by pointing out the similarities and differences between the analyzed TV-Commercials in German and Turkish languages. The detailed analysis of the modalities and intermodal relations of the researched TV-commercials has indicated that there are many similarities in the following modalities and submodalities; language - word types, image - visual items, color, light, camera range, and camera angle. It has been found that both German and Turkish TV-Commercials use similar verbal and visual modalities. The use of the brand names and the substantives “Schokolade (DE) / çikolata (TR)” as keywords is remarkable in all the selected TVCommercials in both languages. This can be related with the brands’ values and advertised products. One of the most significant similarities between the analyzed TVCommercials is the connection between eating chocolate and being happy. To emphasize this relationship, similar visual and verbal modalities have been used synchronously, which are assisted by auditory modalities such as music and/or sound in the analyzed TV-Commercials. The analysis also detects that the intermodal connections between the modalities and submodalities in the selected TV-Commercials in the two languages are very coherent and compatible. This can be explained by the increasing impact of the globalization in advertising. The results of the study have also shown that there are some differences in the use of the modalities music, sound, and the usage rate of the modalities in the examined German and Turkish TV-Commercials. In the analyzed German TV-Commercials, the same brand jingle called Colors of Life is played, whereas a different instrumental song is played in each Turkish TV-Commercial as background music. Besides, the intensive use of chocolate bar breaking sounds to indicate the quality of the advertised product is very significant in the Turkish TV-Commercials. The differences between the analyzed TVCommercials in the German and Turkish languages can be associated with the brands’ values and types of the advertised products.According to the results of the multimodal analysis, there are more similarities than differences between the analyzed German and Turkish TV-Commercials. However, in terms of the use of the modalities, each language has an original characteristic. Based on the results of the multimodal oriented examination, this study demonstrates that due to the increasing globalization, TV-Commercials are becoming much more alike in their fundamental characteristics, even if they are created in different languages.</p>

Almanca ve Türkçe Televizyon Reklamlarında Çok Katmanlılık: Ritter Sport ve Eti Reklamları Üzerine Karşılaştırmalı Bir İnceleme

Handan

Servet

Lecturer

<p>In this article, the role of pronunciation in foreign language teaching was first presented as an introduction. It follows its function in textbooks. Teacher competence was then discussed and the situation in the CEFR was briefly considered. The teaching situation was then described. Based on this, the research topic phonetics was examined more closely from the perspective of the relationship between phonetic letters and sounds. In the second part, the methodology was described, including the aim and the research questions, the research design, the context, the data collection and the sample as well as the analysis of the data. In the last part the results of this work were presented and discussed. Finally, the research questions were discussed in detail and suggestions were made.</p><p>One of the most important aims of foreign language teaching is to teach learners how to speak accurately and understandably. Good pronunciation brings considerable advantages for foreign language learners. At this point, it is expected that a substantial value will be attached to pronunciation training, as is the case with receptive and productive skills. Understanding language learning as a whole and cultivating it so that real communication can take place are important prerequisites for language learning. The reason why this article focuses on pronunciation training in relation to the sound and letter relationship is that this area is rather neglected. In the present age, there are a lot of textbooks that pay enough attention to pronunciation, as in other areas of foreign language teaching. Besides the textbooks and students, the attitude of the teachers is worth mentioning. Only then do the textbooks have a chance to make the foreign language more functional in the classroom. There are languages where the spoken and written languages are more or less identical. The German language does not appear in this category. This becomes particularly clear when the phonetic-letter&nbsp;relation is examined. Dieling and Hirschfeld (2000) see the awareness of the relationship between pronunciation and writing in foreign language teaching as important. From this, some suggestions for the learning process can be derived: The teachers, the learners and the learning material itself are in the center of attention. Teachers should identify their learners’ deficits so that they know what needs to be improved. Foreign language teachers should be in no doubt about the aforementioned differences and terms so that they can carry out successful pronunciation training and recognize the causes of the errors or deviations. Learners should make the pronunciation exercises part of their learning process for self-training. The textbooks should contain numerous efficient pronunciation exercises, both for the teaching phase and for self-learning, according to the methodological-didactic principles of foreign language teaching.</p><p>The aim of this study is to question which sounds are more problematic for multilingual Turkish German learners in university education. A further aim is to determine the possible causes of their pronunciation deviations. In the context of the present study an error analysis in the sense of Kleppin was carried out. The sample was a group of students from a Turkish university who were learning German as a third foreign language. To collect the data, the respondents were asked to perform a number of actions: to pronounce a list of selected words (see Appendix 1) privately (at home or in a quiet place), record themselves with electronic recording devices and then send the digitally stored recorded files to the researchers. The deviations that occurred were dominated by vowels, including diphthongs and vowels with umlauts, which was expected. Among the vowels, the diphthongs, the long vowels, the vowels with umlauts and the schwa-sound were particularly noticeable. Among the consonants, deviations were mainly in the following sounds: [ts], [k], [ʃp], [ŋ] and [h]. The causes of the above mentioned deviations were mostly due to interferences of the written language and the previously learned (foreign) languages. Apart from the deviations, it should be mentioned that the overall performance of the respondents was highly satisfactory, which can be attributed to the multilingualism of the learners.</p><p><br></p>

Die Beziehung von Buchstaben und Lauten im Deutschen. Eine Fehleranalyse zur Aussprache der mehrsprachigen türkischen StudentInnen

Ayşe

Fatih

<p>Turkey participated in the Socrates project with the Council of Europe Decision (numbered 253/2000 / EC) on 24 January 2000 for a common policy in Europe. Foreign language teaching and second foreign language teaching policy in European countries have been accepted in Turkey too. Foreign language teaching in European countries is carried out inline with the educational policy of the “Department of Modern Languages of the Council of Europe”. This unit, which seeks to develop a common standard, common criteria and a common foreign language teaching policy in Europe, prepares “The Common European Framework of Reference for Languages”. Today, the foreign language teaching policy is implemented in all European countries based on this framework.This rating system is built on levels called A1, A2 (basic user), B1, B2 (independent user) and C1, C2 (proficient user). With this regulation, foreign language training materials are prepared accordingly.&nbsp;</p><p>Students should acquire four basic skills (reading, writing, listening and speaking) to master a foreign language. The acquisition of these four basic skills takes place through their integration and interdependence. The development of the act of speech first requires the development of listening comprehension. Also, improving listening skills depends on speaking ability. Likewise, the development of writing and reading skills also takes place in interaction with each other. On the whole, the combination of these four skills leads to mastering a foreign language.&nbsp;</p><p>There are many studies aimed at teaching a foreign language effectively in terms of these four skills. But most of these studies are in English. Each language has its own reading strategies, as well as its own teaching and learning strategies. So far, only a limited number of research on reading in German exists in Turkey. Moreover, almost half of this research is theoretical.</p><p>Today, reading is an indispensable part of human life. By reading, one can think better, and, one can learn to form criticism and to accept criticism. Reading is a process in which signs and symbols are perceived by the eyes and ears, and then interpreted by the brain in an interpretive way. Through reading, people can access different sources of new information, events and experiences. Therefore, this competence includes learning, analysis and interpretation.&nbsp;</p><p>Because reading is so important when learning a foreign language, the students at the German Language Teaching Program receive two years of “reading skills” and “extended reading and writing skills” seminars. Therefore, reading is one of the most important parts of the curriculum. Students take part in reading lessons for a total of four semesters, but the reading comprehension level of the students is not satisfactory.</p><p>Therefore this study aimed to focus on improving students’ reading skills. Considering that it can contribute to the development of reading skills, levelled texts prepared within the context of the Common European Framework for Languages were used as research material.</p><p>The impact of the leveled texts in respect of the Common European Framework of Reference on the achievement and retention of language learners in German reading lessons was measured quantitatively by comparing it with the non-leveled texts. Then it was supported with the students’ views . Following this purpose, 44 students (22 males and 22 females), who are enrolled in the Department of Foreign Language Teaching of the University of Necmettin Erbakan, participated in this study. A success test was applied to measure the change in students’ performance after the 8-week course. To measure the permanence of the information, a retention test was performed again after 21 days. Mixed model ANOVA was used for data analysis using the R program. The findings revealed that the experimental group showed a significant difference over time compared to the control group.</p>      

Der Einfluss der Eingestuften Texte im Hinblick des Gemeinsamen Europäischen Referenzrahmens auf die Student*innenleistungen und die Nachhaltigkeit des Gelernten

Saniye

<p>Christian Kracht’s Imperium and Steffen Kopetzky’s Risiko can be described as historical adventure novels, which deal with the Wilhelminian Era. While Kracht’s Imperium presents the eccentric life story and visions of the historical figure August Engelhardt who travels to the South Pacific, Kopetzky’s Risiko deals with the historical German-Ottoman expedition to Afghanistan during World War I. In both novels it is significant that the context of German colonialism plays an important role. The travel of the male figures to an exotic topography, the associated adventures and strains as well as the embedding of these aspects in the context of colonialism take on a special meaning for the argumentation of this study. Closely related to the specific configuration of the male subjects such as actors of colonialism, these novels open up a critical perspective on the typical perception of masculinity of the Wilhelminian Era, in which masculinity is explicitly associated with solidity, self-assertion, control and force. With regard to the construction of the male figures and their experiences, the aim of this study is to demonstrate that Kracht’s Imperium and Kopetzky’s Risiko can be seen as narratives which vehemently question and deconstruct conventional images and discourses of heroic masculinity. Based on the assumption that these novels contain postcolonial aspects and references to the political discourses and the colonial context of the Wilhelminian Era, this study will focus on the fictional images and configurations of the male figures in both novels. In this context, the study refers not only to literary studies which focus on the literary conception and configuration of masculinity, but also to sociological categories such as hegemonic and marginalised masculinity. In doing so, the fictional images and configurations of&nbsp;masculinity that can be observed in both novels will be related to the discourses of the Wilhelminian Era. After a short outline of the cultural discourses about masculinity at the beginning of the 20th century the study concentrates on an analysis of the male figures of the novels. The ideals of maleness and power particularly represented by Wilhelm II have been read as a form of male self-assertion and thus of hegemonic masculinity, which also correlates with the military and cultural expansion policy of that time. This very point constitutes the referential framework for the configuration and conceptualization of the male figures such as August Engelhardt in the novel Imperium or Oskar Niedermayer and Sebastian Stichnote in the novel Risiko. So, the illustration of the discursive link between the fictional configuration of masculinity and the imperial world politics of Germany constitutes a crucial point of the analysis. Therefore, the study concentrates on the significance of the body. Moreover, it becomes clear that both novels criticize the colonial ambitions of Germany by reducing the male characters to their bodies and simultaneously reveal the ambivalent character of colonial masculinity. In this sense, it could be ascertained that the images and configuration of masculinity in Kracht’s Imperium as well as in Kopetzky’s Risiko are dominated by the colonial discourses which turn out to be negative. So, the literary conception of masculinity serves as a critical dimension that reveals the negative aspects of German colonialism politics in the Wilhelminian Era. The utopia of August Engelhardt turns into in a barbaric cannibalism, which can be regarded as an anticipation of Nazi-Germany. Meanwhile the actors of the expedition reach the very limits of a human being, for they experience a significant reduction in bodies only. From this perspective the study makes clear that both novels undermine not only the myth of colonialism, but also the concept of the white man through the presented stories of important historical and fictional male figures.</p>                                                  

Literarische Männlichkeitsentwürfe in Christian Krachts Imperium und Steffen Kopetzkys Risiko

Barış

CfP für die nächste Ausgabe  2024/2, Heft: 52

Csaba

Prof. Dr.

<p>This article presents multiple perspectives on the Königsberger Express, a German-language newspaper published since 1993 in the exclave of Kaliningrad in Russia. The article especially focuses on the newspaper’s language and communication structures, thereby systematically outlining the mediatic linguistic portrait of the newspaper with regard to its central traits. Of specific interest to this study is the fact that this newspaper exists in a Russian exclave in a former German territory within a media context shaped by multiculturality and interculturality, as well as by translation-based multilingualism. This article therefore analyzes communicative phenomena within the specific area of tension between Russian and German. In addition to the linguistic points of study, the culturally induced features resulting from the unique culturality within the production of the newspaper also appear as points of interest. The article’s analysis and interpretation are based on a descriptive research focus rooted in the fields of variationist linguistics and interculturality.</p><p>A unique characteristic of the newspaper lies within its production modalities. The paper is editorially created exclusively by Russian journalists in Kaliningrad, while the printing happens in Germany. Most articles are first conceived in Russian, and then translated into German by one Russian translator before being stylistically edited by a native German speaker from Germany (e.g., an intern).</p><p>The so-called salience concept serves as the main analytical tool of this investigation. This concept allows an analysis of various characteristic, linguistically communicative features on various levels (i.e., lexicon, formulaic, and figurative items, as well as expression, grammar, style, text, discourse, and graphemics). Regarding culturality, manifestations of the Russian cultural setting also find expression as culture-specific words and names, Russian perspectivation, Russian-centric framings, peculiarities regarding gendered language, and various content-cultural specifics.</p><p>In summary, the study found three main groups regarding the origin of linguistically unique features:</p><p>1. The areal language contact (i.e., transfer or imitation of elements, structures, and models of the contact language) is responsible for many features found in the text. One subgroup here involves overt or explicit language contact phenomena as a material transfer of signs (signifiers) from Russian as the contact language. Another subgroup involves the covert or implicit contact phenomena in which the concept is being transferred rather than the language material or a linguistic form. Overall, this study has found many patterns of the Russian language being expressed in German.&nbsp;</p><p>2. Some peculiarities involve simple alienation processes (e.g., shift of contrast or exaggeration of contrast that appear due to insecurities with German as a media language, such as in an overgeneralization of the language system).</p><p>3. Others originate inadvertently out of a breach of norms (i.e., careless mistakes that even occur for highly competent text producers).</p><p>This study ascertains that the Königsberger Express demonstrates a rather precise, unspectacular, straightforward, and conservative language that rarely uses word play, irony, or other pragmatic effects. The focus of the newspaper lies clearly in content-related reporting, with expressivity and stylistic excellence having lesser value. The variety of rubrics does not coincide with a variety in genres, as the journalistic forms of presentation remain within a relatively narrow frame.</p><p>Despite the creditable achievements of the investigated newspaper, especially when considering the modest circumstances of production, this article establishes that the Königsberger Express cannot fully be seen as a highly professional German-speaking press release and that the Russian language and Russian culture in particular influence the journalistic articles. Contact-induced linguistic features do appear, especially in the area of microphenomena, but they are by no means a determining factor. The texts show only occasionally that they are the products of translation.</p><p>The newspaper articles’ unique characteristic lies in the specific area of tension between the Russian and German language on the one hand (i.e., as translated and repeatedly redacted, collaborative texts), and within the Russian culture in a former German cultural region on the other hand. The Königsberger Express is a trans-created culturally asymmetrical newspaper, a species sui generis, in two ways: It operates in a contact network between Russian and German (most German-language contributions are translations from Russian) and in a particularly asymmetrical relationship due to the language being German, the cultural environment being Russian, and the German texts therefore frequently gaining a Russian perspectivation.&nbsp;</p><p>In these respects, the newspaper is an example of a unique media type and therefore a unique expression of German as a media language. Thanks to the journalistic and translational approach to elements, structures, models, and contents of a partly formerly East Prussian and mostly contemporary Russian provenience, the newspaper frequently exhibits a genuine Königsberg (Königsberg or Kaliningrad) aura in many ways.&nbsp;</p>

Der Königsberger Express: Linguistisches Porträt einer „russisch-deutschen“ Zeitung

Jameson

Let the Bodies Hit the Floor: a Comparison of Corporal Morphology in Shelley’s Frankenstein (1818) and Buchner’s Lenz (1836)

Sunil

Rabble, Masses or Humanity: Kraus and Canetti Responding to the July Revolt of 1927

Lilis

Pratomo

Erna

Unearthing the Power of Metaphors: How German Campaigns Craft Catchy Trash Slogans

Merve

<p>Christa Wolf is one of the most significant German authors of the 20th century, with many of her works are deeply influenced by the historical and political events of her time, particularly the German division and period of the German Democratic Republic (GDR). Her works offer insights into the lives and experiences of individuals in a divided Germany, shedding light on the social, political, and psychological ramifications of this period. Wolf’s keen interest often gravitates toward the health circumstances engendered by state oppression, sparking debates over whether illness in her works should be interpreted metaphorically. This delves into the interpretation of illness in Wolf’s Leibhaftig, asserting that it is not metaphorical but rather emerges as a consequence of the incompatibility between social conditions and psychological stresses, echoing the sentiments contained in Sontag’s essay “Illness as Metaphor”. It is plausible that Wolf’s engagement with this theme is influenced by Sontag’s exploration of illness in her own works. In Leibhaftig, illness is portrayed realistically due to the severe stresses experienced during the rule of the GDR. Wolf addresses the social dimension of the illness, using a collective body as the setting, wherein psychosomatic symptoms manifest as a result of repression and oppressive policies. This deliberate choice of the body metaphor serves as a poignant social critique, depicting the sick body of the state as emblematic of societal malaise. Through the lens of biopolitics, the collective body represents society, functioning both as a stage and as an archive of the GDR’s tumultuous history. The protagonist’s journey through illness is interspersed with memories and implicit references to repressive politics, highlighting the interconnectedness of individual suffering with broader socio-political contexts. Herein lies Wolf’s critique: The state’s pursuit of a healthy populace disregards the deleterious impact of its own policies on public health, exposing the inherent contradictions within the regime’s biopolitical framework. Wolf implicitly critiques the oppressive state by incorporating the surveillance of the body by doctors, nurses, and surveillance monitors into the plot. Through these medical instances, the control exerted by the Stasi is symbolized, with the exploitation of the body emerging as a prominent theme. Similar to the state’s dominance, the body appears vulnerable and submissive in the hands of doctors. Here, Wolf emphasizes that the hospital setting reflects GDR society. Particularly, the dependence on Western drugs highlights both a dilemma and a form of resistance against the state system. This study confirms that Leibhaftig offers a realistic portrayal of illness subjected to the dictates of an oppressive regime, a contention supported by comparison with Wolf’s other works. Wolf illustrates the connection between body and soul in LH through the interactions between psychological and physical symptoms. While the protagonist survives the fatal illness, less positive fates are also depicted in her memoir, such as the suicide of her fellow student Hannes Urban. These narrative elements suggest that the protagonist’s self-reflection process during her illness, accompanied by memories of the state’s repressive regime and the insights gained from her hospitalization, symbolizes the twilight of the GDR. The protagonist’s memories serve as a conduit for processing mental anguish and highlighting the societal harm inflicted by the regime. The metaphor of the collective body underscores Wolf’s critique of a state that endangers people’s well-being, especially their health, through pervasive surveillance, power dynamics, and oppression.</p><p>Drawing upon Susan Sontag’s essay “Illness as Metaphor” (1978), Wolf intricately explores the nexus between mental states, illness, and the body, illuminating facets of social and personal decay. Additionally, insights from Michel Foucault’s “The Birth of the Clinic: An Archaeology of the Medical Gaze” (1976) and his approach to biopolitics in “The History of Governmentality II: The Birth of Biopolitics” (2004), deepen our understanding of Wolf’s social critique, particularly regarding the collective body and physicians’ orientations within the biopolitical framework.&nbsp;</p>

Der Kollektivkörper als Schauplatz der Macht des DDR-Regimes in Leibhaftig von Christa Wolf

Furkan

Öğretim Görevlisi

Kitap İncelemesi: Edebiyat Kuramları: Hermenötikten İnsan-Hayvan Çalışmalarına (2023)

@JOURNAL_BOX_CURRENT

@JOURNAL_BOX_EARLYVIEW

Sabine

Çoklu perspektiflilik, anakroni ve güvenilmezlik: Vantage Point ve Forestillinger örneğinde günümüz filminde sinoptik ve kaleidoskopik yöntemler

Withold

<p>In Emine Sevgi Özdamar’s literary texts, her protagonists typically perform like actors on a stage, such as in Bertolt Brecht’s epic theater. Although the author is clearly well aware of the imaginary stages on which her actors perform their roles, surprisingly little attention has been paid to these stage settings in the literary criticism of her novels. This article addresses the following questions: first, where are the stages on which Özdamar places her novel’s characters, and second, what is the historical and societal relevance being expressed by means of these particular stage settings? Particularly eye-catching in the novels of her so-called her Istanbul-Berlin trilogy novels is the frequent appearance of spaces that Foucault calls heterotopias; that is, cemeteries, mirrors, theaters, brothels, ships, and trains. The role of trains in Özdamar’s novels is of special interest. As Foucault says, “A train is an extraordinary bundle of relations,” and this is true for her novels, where many diverse plays are performed using a railway compartment as the stage setting. At first glance, each book in the trilogy strengthens one’s impression that the trilogy is largely concerned with referential autobiographic writing. However, as a comparison of the highly diverging portrayals of the protagonist’s first railway journey from Istanbul to Berlin show, it is the staging of auto-fiction, not of autobiography, that is orchestrated on the revolving stage of the railway compartment. In addition, the discussions of the motif of her use of German as her novels’ language are played out on trains. It is in a train compartment where the protagonist reveals her choice of German as the language for her literary texts. In addition, her decision to employ a partly hybrid language in her early texts, such as in Mutterzunge and Das Leben ist eine Karawanserei, where the German is permeated with direct translations of Turkish phrases, is motivated by the author’s observations on the creative German-language use by many ‘Gastarbeiters’ during train journeys. It is repeatedly evident that her narratives of solidarity are told in these railway compartments. The cigarettes the travelers smoke together or offer each other become symbols of this ongoing solidarity. Though the panoramic view from the railway window, and the changeover to imaginary literary landscapes constitute illusionary spaces, where for once the ‘actually existing socialism’ seems to be apparent, Özdamar’s protagonists are nevertheless aware of the problems of GDR socialism. These include, among others, the remnants of fascist thinking in spite of the official GDR antifascist narrative. And, it is not only the staging of highly contradictory encounters in the train compartments that are facilitated by the protagonist’s persistent traveling on the urban commuter train between East and West Berlin. This perpetual oscillatory traveling transforms the contradictory and coinciding fragments of the protagonist’s identity into a horizontal coexistence. Although every railway journey comes to an end, one can always start a new, so that in spite of the protagonist’s disillusionment, a utopian moment of solidarity shines forth. Finally, the protagonist becomes an actor, theater director, and author. Eventually, the protagonist’s train journeys between Istanbul and Berlin and between East and West Berlin are followed by a journey to Paris,&nbsp;where she assists director Benno Besson with the staging of the Caucasian Chalk Circle by Bertolt Brecht.</p>                                                                                                                                                                                                                                                                                                                                                                                                                                                                 

Gespräche wie bei Auftritten im Theater Eisenbahnen als Bühne in den Romanen Emine Sevgi Özdamars

Heiko

<p>Writing on South Africa is not a popular theme in German literature, yet the Realism of the 19th century as reflected in the writings both of W. O. von Horn and Karl May tends to the remote by finding its setting in the province and overseas. Neither has been to the Cape, W. O. von Horn depending heavily on Eduard Kretzschmarʼs Südafrikanische Skizzen (1853), whereas his own Die Boorenfamilie von Klaarfontein (1855) provides the role model for both Karl Mayʼs short narration Der Africander (published 1878 under the name of his bethrothed Emma Pollmer) and the enlarged version Der Boer van het Roer (1879). All three texts tend to demonize the British as new rulers of the Cape and to idealize the Boers: To W. O. von Horns readers the agricultural Afrikaner life seems so much like their own, Karl May stresses the allegedly strong cultural ties between Germans, Dutch and Boers. By teaching his readers a lesson in humanity and tolerance W. O. von Horn not only follows didactic aims that are a characteristic of the popular enlightenment of early 19th century, but also bases his plot on the romance elements of the literary scheme established by Homerʼs Odyssey to present an enduring hero of a love story. On the other hand Karl May uses the adventure plot of the ancient epic to depict the protagonist (in Der Africander) and especially his first-person narrator (in Der Boer van het Roer) as a trickster whom his readers can admire. In Die Boorenfamilie von Klaarfontein Jan van Daanen does not revolt against his father who does not allow his loving for Mietje to develope into marriage and the founding of an interracial family, but by suffering and enduring he finally overcomes all obstacles: Piet van Daanen learns to accept the Amakosa princess as his daughter-in-law, who brings her tribe christendom and her new Boer family peace with their native neighbours. The Piet van Holmen of Der Africander is not the patient endurer but the active fighter: When British rogues kidnap his beloved, he chases them down and finally kills them; the first-person narrator of Der Boer van het Roer adds to this heroism the intellectual skills of superior warefare; more importantly May distinguishes him from the Boer characters by attributing to the latter a rude and inhuman colonialism which the former does not share and does not approve. But it is he who benefits most from his adventure by bringing home some precious Cape diamonds – and the vision of a future German colonialism that will yield wealth even beyond the exspectations of German Gründerzeit society for those who dare to simply act – not ruthless, but resolutely – in the complex interlacing of a colonial world. Both W. O. von Horn and Karl May follow the aims of their time and surroundings, and both use literary tradition descending from Homer to do so.</p>                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                        

W. O. von Horn’un ve Karl May’ın Öykülerine İlişkin Halkbilimi ve Edebiyat Bilimi ile Bakış

Zehra

Edebi Çeviride Nitelik. E.T.A. Hoffmann’ın Novellası Das Fräulein von Scuderi’nin Türkçe Çevirileri Örneğinde Bir İnceleme

Sang-bum

Michael

„Wir werden dem Tao nachgehen“ ‒ Der Einfluss Asiens auf die Poetik des Expressionismus am Beispiel der Autoren Alfred Döblin und Gottfried Benn

Stellan

_Yeni Makale

Kommunikation in der Wissenschaft: Ein Plädoyer für Mehrsprachigkeit

Sergei

Fachsprache ´Linguistik´ in der universitären Kommunikation: explizite und implizite Autorisierung sprachwissenschaftlicher Texte

Ali Osman

<p>Else Günther is a children's author who started writing books after the Second World War, but was almost completely forgotten by the end of the 1970s. In her books, which have a pre-intercultural characteristic, she introduces foreign continents such as Africa and Asia (Turkey) and countries such as Sweden, Norway, and Finland to children in post-war Germany. In my opinion, she uses her writing to develop the intercultural skills of post-war children. Based on the children’s book Sonjas lustige Türkenreise, it seems that the author did not talk about the destruction by and consequences of the Nazi regime, even though she wrote during the early 1950s. On the contrary, she brings an exemplary family life to the forefront of the welfare society. Even the title of her book is striking because it translates as Turkish Trip instead of Turkey Trip, so one could argue that it can be seen as a mental trip into the world of the Turks (as Asians). Franz &amp; Meier (1978, p. 155) state that the text pragmatics, or use and function of the text, should be taken more into consideration while organizing children’s or juvenile literature. They suggest that the following questions be asked:</p><p>&nbsp;Does the text primarily want to be instructive? </p><p>- Does the text primarily want to direct behavior? </p><p>- Does the text primarily want to entertain? (see Nündel, 1976)</p><p>From this point of view, my aim is to answer these questions about the text function in terms of what it is attempting to evoke in the reader’s mind in the example of Else Günther's children’s novel Sonjas lustige Türkenreise. My goal is to clarify how children's literature contributed to child education in the 1950s and which bridge functions between the self (me) and others after the racist regime. The focus of this research is the question of how the author encouraged child education and the overcoming of societal prejudices toward the degradation of foreign peoples and cultures. Else Günther mostly wrote novels during the first years of her authorship in the 1950s, which made a tremendous pedagogical contribution to intercultural children's education in the context of the literature of child autonomy. In this sense, the children are directed to conscientious behavior through the examples set by little Sonja's mischiefs and experiences</p><p>Thus, the questions we have asked at the beginning are also answered based on Nündel (1976). Else Günther's text is entertaining on the one hand, but on the other hand, it is secretly so instructive that child readers are directed toward better behavior by reading.</p><p>From a pedagogical point of view, this approach is praiseworthy, because it would otherwise not be a suitable method for children's education. An unsympathetic teaching might have caused a negative reaction in the children and the desired aim would not have been reached. Children should be able to move autonomously in their own living and play areas so that they can create their own experiences by observing the human and animal environment. In this sense, Else Günther has a tendency to act in accordance with the text function of the novel Sonjas lustige Türkenreise, thus developing a role model for child readers and to initiate a spiritual identification process. The novel is about middle-class heroes who come from a nice family environment. We see here that imagination and psychology are important elements for children to get rid of the obligation to undertake honesty as a duty and a strict adherence to norms set by adults (see Steinlein, 2008, p. 327). In our view, this requires the involvement of Else Günther's young girl novel to the texts of “child autonomy literature” (Ewers, 1995); that is, to the field of the pacemaker texts in this context, with its free-spirited and rebellious protagonist. Not only parents’ relationships with their children, but also the literal reflection of foreign worlds are obviously very important to the author in terms of pedagogical aspects, especially with regard to the intercultural education of the children of the new generation.</p>

Zum pädagogischen Wert der Kinderliteratur am Beispiel von Else Günthers Roman Sonjas lustige Türkenreise

Franziska

"Wir nennen ihn Sohn" – zum Nexus von Identität, Familiengeschichte und Migration in Feridun Zaimoğlus Leyla

Özlem

<p>German playwright Heiner Müller, a dramatist coined as a postmodernist, produced postdramatic plays using techniques such as pastiche, rewriting and alienation, and reimagined history, myths and old texts under the light of the twentieth century history and postrdramatic theatre. One of his most exemplary plays that uses these characteristics is Hamletmachine (Die Hamletmaschine, 1977), a distinctive rewriting of Hamlet. Hamlet as one of the most important examples of the Elizabethan drama and revenge tragedies is itself a play that uses techniques such as pastiche, play within a play, and rewriting, proves the interdisciplinary nature of drama. Hamlet includes discussions about religion and philosophy, together with a slight discussion of art theory in the midst of the play. The rewriting of Hamlet, with the writing style of Müller in 1970s, puts forward the changes in and the important techniques of the twentieth century texts and performances. As a rewriting Hamletmachine creates not only a new text but also an unusual, innovative, and even experimental interpretation in terms of text and performance. Not only the text and performance, but also the text, performance, years of literary criticism, and many readings of the original text are connected to one another in this play which help the creation of a different kind of visibility on stage. “Death Suits Ophelia,” directed by Ozan Gözel and Tuluğ Ülgen as a part of the 4 Short Plays by Studio Actors in 2005, focuses on Müller’s interpretations while it also suggests that they’re rewriting not only Shakespeare and Müller but the existentialist writer Sartre’s The Flies (1943) as well as Eugene O’Neill’s Mourning Becomes Ophelia (1931) (These texts are 1930s and 1940s rewriting of the Ancient Greek myths of Orestes and Electra, and Aeschylus’ tragedy Oresteia, a tragedy that affected Hamlet and Hamletmachine, as well). As a rewriting of these text, their performance piece creates a new text and gives way to new interpretations with its diverse staging. The aim of this article is to argue that drama is an interdisciplinary and intermedia art by nature, and the performance can also be considered as a rewriting while play texts and performance, two parts of the same art, are also two different disciplines with their own dynamics. For this aim, this article will focus on Müller’s Hamletmachine investigating the text’s relation to its predecessor, its use of technique and the multiple interpretations in the play. The article will also focus on the different interpretations of the performance piece “Death Suits Ophelia” with an intention to discuss both texts’ interdisciplinary and intermedia characteristics as rewritings.</p>                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                              

Disiplinlerarası ve Medyalararası bir Yeniden Yazma Eylemi Olarak Metin ve Performans:  Hamlet Makinesi (1977) & “Ophelia’ya Ölüm Yakışır” (2005)

Laura

Wolfgang Koeppens Erzählungen: mehrere Wege eines autobiographischen Schreibens

Cristiano

Sicilya’nın Neoklasik Grand Tour’u  ve Goethe’nin Italienische Reise Eseri

<p>Even though Feridun Zaimoglu’s novel Isabel, published in 2014, evokes his other novel Leyla in view of its female title character, there are significant differences between these two works. Isabel focuses on topics such as identity, integrity, border, and crisis situations, all of which are regarded as peculiar to Turkish-German Literature from a different perspective. The novel presents life and border situations from the 21st century life in Berlin. It further visualizes the theme of non-integrity as well as the crisis of the modern subject of the present, which results from social problems and social conventionality. The novel’s female protagonist puts an end to her life as a model and begins a new life after separating from her long-term boyfriend. She is surrounded by figures from the lower social milieu, including bottle pickers, madmen, transsexuals, and homeless people. The aim of this study is to focus on the conceptualization of the title character with regard to the constitution of the subject and from an intercultural perspective. By using and introducing the theoretical approaches of Stuart Hall and Judith Butler to the “subject", I will first analyze the ‘crisis of the subject’, which appears with the eponymous character. I will also concentrate on the critical position of the female protagonist that is particularly targeted against the conventional discourses and attitudes of society. In view of her distinctive disgust for the fundamental things in life, the protagonist is primarily characterized by a new concept of the self. She has a firmly distant attitude toward any kind of conventionality and thus isolates herself from society. However, she also rescues herself from the position of the subjected and non-“recognizable” (Butler 2008: 15) individual, insofar as she reverses the dynamics of society through her critical attitude revealed in her discourse. This means that this character performs a “subversive resignification” (Butler 2008: 246) and creates a space for her self-defined subjectivity. This process of revaluation, which is directly linked to the title character, can also be observed from an intercultural perspective. Secondly, I will show how the novel undermines and recodes the ethnicized and culturalized female subject through its subversive title character. It is remarkable that even though this character is of Turkish origins, this fact has no specific function on the frame of the plot. The emphasis on the performative phrase “I am only me” makes the distant and critical position of the protagonist to any kind of conventional discourse strategies obvious. In this regard, the conceptualization of the title character is a reminiscent of the female characters in Koppstoff who explicitly reject the stereotypical formations of the Turkish-German woman that are commonly found in the German public. The speech of the character Gül is particularly important here. In this context, the novel leads to the critical reconsideration of perception patterns Turkish culture as well. It is clear that the novel initiates a revaluation of the Turkish culture within the German community and its elements in a subtle way.</p>                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                       

„Ich bin nur ich.“ Zur ‚Krise des Subjekts‘ in Feridun Zaimoglus Roman Isabel

Antonie

Wissen referieren in der Fremdsprache Deutsch – Tesina und mündliche Präsentation als erste Schritte zum kritischen Denken?

Alena

Weibliches Schreiben männlicher Autoren der Migrationsliteratur? Zaimoğlus Leyla und Florescus Zaira

Deniz

Sarah

Garbage in Paradise – Müll und Rauminszenierung in Fatih Akıns Dokumentarfilm Müll im Garten Eden

Şebnem

<p>1979, the second novel of the Swiss writer Christian Kracht, published in 2001, is an implicit criticism of the culture of Western bourgeoisie. Both with its title and with its setting in Tehran, especially in the first part, the novel reminds us the 1979 Islamic Revolution in Iran from its start. Kracht’s novel depicts Tehran as a modern city and as one of the geographies of modernism and globalisation as Andreas Huyssen identifies (Huyssen 2005: 6). From this perspective, we get to know Tehran as a city where decadent people from all over the world organize jet-set parties and in the light of this information Tehran as depicted in the novel emerges as a space which is beyond cultures and independent of Eastern identity. However, the date is 1979 and the city is on the threshold of social and political transformation. All in all, the novel does not mainly deal with the fact that city, hence the country, is at a political junction. The novel mainly focuses on an anonymous first person narrator and his partner Christopher who come to the city which is on the verge of the coup. They came to the city for a degenerate party with drug use in the atmosphere. After this party, which depicts the Western life style in its degenerated from, Christopher dies at a derelict hospital in one of the city’s dark neighbourhoods. Hence, the anonymous protagonist of 1979, decides to travel East as the other of the West. The second part of the novel mainly deals with the constantly eastward journey of the anonymous protagonist. His purpose is the fill the gap inside him and create some value in his life. With this purpose in mind, the protagonist of 1979 joints the Tibetan pilgrims who travel to the sacred Mount Kailash, accepted as the centre of the universe. After a hard climb, he understands that he won’t find the meaning he was seeking there. The journey did not achieve its goal. Then he travels further eastwards. During his journey he gets arrested by the Red Chinese soldiers and he is taken to a working camp where experiments on atom bombs are carried out. It is at this camp that the protagonist can get rid of his western identity. The camp is a place where hunger and cruelty rule and people inflict great pain on one another. He is content; because his anonymity had gained some meaning at last. As Johannes Birgfeld (2007: 408) states, this is a kind of exile and it is an attempt to deal with the existing identity crisis. 1979 shows that as one gets further away from the West, not only the subject with its Western identity, but all other concepts ascribed to the West also die. Hence, 1979 does not only pinpoint the beginning of a coup in world history, but the novel emerges as a turning point where concepts of space and time are also dissolved as cultural signifiers. The present study expounds on this argument in relation to Christian Kracht’s novel 1979.</p>                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                               

Christian Kracht’ın 1979 Adlı Romanında  Zaman ve Mekân İmgelerinin Dağılması

Pınar

<p>Published in 1902, Thomas Mann’s novella Gladius Dei concentrates on the confrontation of a burgher and his extraordinary artwork, and by that, shows a tragic situation of an artist at the turn of the 20th century. In the novella, Mann criticizes the art scene in and around Munich, which was the “city of art” in Germany during the process of modernization. The city turned into a center for artists who independently produced art and sold these works in flourishing art galleries. Rapidly increasing industrialization had caused an increase in the income of the rising educated middle classes, who in turn had become increasingly interested in art. In the fin-de-siècle, or more precisely, in the transition to modernity, art occupied a special role in society. As such, its overall position became more autonomous. Art, which tried to separate itself from everyday life with clearly visible borders, provided the basis for the simple array of entertaining works that were characterized by the “L’art pour l’art” principle. The narrative of the novella depicts Munich’ art scene in its excessiveness, and simultaneously emphasizes the strong aestheticism and the extreme dominant role of beauty in these artworks. Mann’s storyline reflects the fact that artworks increasingly gained function as commodities. It was not only artists who profited from these artworks, but an increasing number of people started to dealth art, and as such, art became considered a trade. This, in turn, led to a situation in which art stared to lose its function and turned into something meaningless. In the novella, this lucrative “beauty business” is reflected in the Blüthenzweig art gallery. While showing exaggerated attitudes toward art, the narration critiques the fact that art was gaining such an autonomous position in society. Hieronymus, who is a pious character, feels offended by the obscene representation of Madonna, which he sees in the beauty shop of Blüthenzweig. In fact, he wants this inconvenient painting to be burned. Hieronymus’ stance represents the group of people within society who thought that this new type of art was misleading and caused separation from religion. The text refers to secularization as one of the main results of modernization process. The role of religion began to change and the educated middle classes began to question religious devotion. Instead, art was almost worshiped and thereby it was beginning to replace religion. However, the separation from religious institutions was not easily accepted, and there was staunch opposition against this development. Modern art was blamed for the intellectual development and emotional alienation of individuals from religion. While the Munich art scene and its excessiveness is reflected in the “beauty business” of Blüthenzweig, Hieronymus’ pointed depiction also symbolizes the exaggerated moral attitudes toward modern art, whereby the narrative draws attention to a balanced position. Mann refers to the theatrical exaggeration of beauty, which runs into a dead-end through the lack of reference to everyday life, whereby the artwork simultaneously loses its function and meaning. The novella ends with the&nbsp;process of estrangement of the artist, for whom the work of art only exists in terms of aesthetic and material values. Moreover, Mann criticizes the nonsensical beauty worship and emphasizes that this is a result of artistic disconnectedness. Hence, the aspiration of the artist to separate himself from the bourgeoisie seems absurd, for the artist himself is part of the bourgeois world. The ostensible antithesis of artistry and bourgeoisie was the consequence of this civil period in crisis. Thus, it can be seen as a reflection of the entire bourgeois situation at the turn of the century, implying the social reality of decadence. Gladius Dei contains an implicit criticism of the fin-desiècle art scene in Munich. The narrative interprets art as meaningless by showing how much it has become oriented toward purely aesthetic values.</p>

Der Künstler um die Jahrhundertwende als ein “Bürger auf Irrwegen”: Die Münchner Moderne in Thomas Manns Frühwerk auf der Suche nach ihrer Identität

Mahmut

Almanca konuşulan coğrafyalarda kozmopolit imgelemeler

Arne

Gabriella

Sprachliche Verfahren der Vermittlung naturwissenschaftlichen Wissens in PhysikVorlesungen: deutsch-italienische Perspektiven

Edebiyat ve Film. Edebiyat Bilimi Yaklaşımıyla Film Çözümlemesine Giriş

Riham

„Es ist der Schmerz, der uns verbindet“. Annäherung durch Verlust in September. Fata Morgana von Thomas Lehr

Gülay

Uluslararası Konferans: „Alman Eğitim Siteminde Çokdillliğin Geleceği: Rusça ve Türkçe Odaklı

Sevinç

Darstellung der fremdsprachlichen Kompetenzen der angehenden türkischen Deutschlehrer : Beispiel Universität Istanbul

<p>The fact that the perceptions of the teaching profession determine the attitudes of teachers and their behavior within the classroom is often mentioned in academic literature (Borg, 2003, p. 81). In this regard, it is important to explore prospective teachers’ perceptions of teachers and the teaching profession in order to make conclusions about their own learning and teaching behavior. The word “metaphor,” originally from Greek, is an important tool to describe how people see life, the environment, events and objects, and seek explanation through comparison (Cerit, 2008, p. 694). Metaphors structure our inner world, thinking processes, and reflect not only our plans and ideas, but also how we perceive our environment (Marsch, 2009). To a large extent, metaphors also form the way we think, experience, decide, and behave in our daily lives (Lakoff &amp; Johnson, 1980).</p><p>Numerous studies show the reproduction of thinking of prospective (or currently practicing) English teachers via metaphors. In particular, in this sense, in the field of prospective German language teachers (or currently practicing) the potential to use metaphors has hardly been used. Therefore, this study aims to determine which metaphors prospective German language teachers describe their role as future teachers. Since teachers describe their role through metaphors, they also construct specific personal meanings about teaching per se. This study attempts to answer the following five research questions: (i) What metaphors do prospective Turkish language teachers of German create to describe a German language teacher? (ii) What metaphors do prospective German language teachers of German create to describe a German language teacher? (iii) How do prospective Turkish language teachers of German describe their metaphors? (iv) How do the prospective German language teachers of German describe their metaphors? (v) Do these metaphors reveal cultural differences? Data were gathered from a research study group consisting of 130 German language students (62 Turkish and 68 German) who were at the time studying in their first year in the German language teacher training programs at Turkish and German universities respectively. These teacher trainee students were asked to provide their own conceptualization regarding their roles as language teachers through the statement “A German teacher is like ……………because…………………..” They were asked to focus on only one metaphor. These reasons enabled a more precise interpretation of the metaphors and their classification into categories. The data for this study were analyzed using the metaphor analysis methodology. The metaphors were separately analyzed. Similar metaphors were brought together and were codified according to the typology of metaphors developed by De Guerrero and Villamil (2000). This categorization includes nine role categories: cooperative leader, knowledge provider, challenger/agent of change, nurturer, innovator, provider of tools, artist, repairer, and gym instructor.</p><p>The results show that the Turkish participants named 35 different metaphors while the German participants named 48. The metaphors that the participants produced varied in terms of number and content. The German participants preferred animate metaphors whereas the Turkish participants mostly created not-so-imaginative metaphors. Only the metaphors of teacher, travel guide, and parent were used by both groups. Because most of the prospective teachers were being considered teachers, they were also conceptualized as being cooperative leaders. In both groups, this category was the most commonly described metaphor. While the Turkish student group saw the teacher as a second “knowledge provider,” this category was only seventh among the German student group. It is remarkable that both groups did not see the teacher as an “innovator”. The results of the Turkish students, in particular, show that they see the teacher according to behavioristic principles, that is, as a person who–besides conveying knowledge and giving support to students– does not take any other roles. From the analysis of the results, it can be concluded that cultural characteristics are hardly apparent. Undoubtedly, the results, as described above, cannot be generalized and must be supported by further research. In this context, the study presented here is only a first step in this direction, for it attempts to give an insight into the realm of thinking in the field of prospective German language teachers.</p>

Eine vergleichende Studie zu Denkwelten von Deutschlehrern anhand von Metaphern

7. Uluslararası Medya Dilbilim Kongresi: Medya Kültürü, Çok Katmanlılık ve Medyalararasılık

Erika

Germanistik zwischen Regionalität und Internationalität: 60 Jahre Temeswarer Germanistik

German language and literature between regionality and internationality: 60 years of Timisoarian German language and literature

Bezugnahmen in wissenschaftlichen Texten und die Produktion von Mehrstimmigkeit: Eine deskriptive Analyse von deutschen und türkischen Fachzeitschriftenartikeln aus der Betriebswirtschaft

Wirtschaftsdeutsch als berufsbezogenes Fach im Curriculum von Germanistikstudiengängen in der Türkei – am Beispiel der Germanistikabteilung an der Universität Istanbul

Nilgün

Türk-Alman Üniversitesi Yabancı Diller Yüksek Okulu’nun „Almanya ve Türkiye Bağlamında Dilsel ve Kültürel İlişkiler“ Konulu Mesleki Toplantısı

Mukadder

<p>Learning starts with the birth of an individual, and the learning process is dependent on several factors during the life span of individuals. Family, environmental factors, social culture and traditions, education system, conditions, necessities, and teacher attitudes are the factors that direct the learning process. Learning is both an individual and a social process, and the traditions of learning and teaching are effective in this process. Learning and teaching habits are also dependent on a country’s teaching and learning tendencies or education system. However, this situation should not create the view that learning can be generalized as a single learning culture and is fixed. Just like the variety of individuals, learning habits hold individual differences, too. In other words, people have different learning habits and strategies, and these learning habits may change over time. When individuals think about the issue of learning, have a conscious comprehension of learning, or make conscious decisions on how they will learn in a successful way, their learning habits may change, and their motivation may increase. For learners (individuals), self-learning means taking the responsibility of learning, planning, analyzing, and evaluating; being able to identify their strengths and weaknesses; and being motivated to learn. To sum up, selflearning is a component of lifelong learning. Self-learning may take place both during and out of the formal education process. The importance of self-learning to the learners can be summarized as follows:</p><p>Supporting learner autonomy, </p><p>- Identifying and developing individuals’ own skills and competencies, </p><p>- Being able to follow the dynamic developments of the twenty-first century and information and communication technologies, and </p><p>- Increasing one’s own motivation.&nbsp;</p><p>Concepts such as lifelong learning, motivation, self-learning, communicative competence, and learner autonomy play a central part in the current and contemporary education process. These key concepts are identified as important objectives in education. Students are at the center of this process because the self-learning habits of students are indispensable in the frame of identified objectives. Self-learning is undoubtedly significant for German language teacher candidates, too. The purpose of this study is to reveal the self-learning habits of German language teacher candidates in the sample of Trakya University. In accordance with this purpose, a questionnaire was administered in all classes of the German Language Teaching Department. In this context, the questionnaire aimed to identify German language teacher candidates’ self-learning habits and perspectives on self-learning itself. A total of 40 German language teacher candidates (32 females, 8 males) participated in the study. In each class from the first grade to the fourth grade, a total of 10 students were randomly chosen, and a total of 40 students answered the questionnaire to collect data. The number of participants was limited because open-ended questions were included, aside from the close-ended questions, in the questionnaire. Close-ended questions were analyzed by using SPSS and were evaluated in percentages. For open-ended questions, content analysis was performed.&nbsp;</p><p>The findings of the study demonstrate that the keywords used by participants on self-learning were “interest,” “want,” and “effort.” Terms such as “identifying objects” or “taking responsibility” were expressed by only three participants. The self-learning habits emphasized mostly by the German language teacher candidates who participated in the study were note-taking, summarizing, writing sentences with the newly learned words, researching, vocabulary studies, and repetition. These findings indicate that the participants especially focused on writing skill among their self-learning habits. This finding shows that various learning styles and different learning methods should be allowed in the education process of students. Only in this way can students develop their skills, competences, and tendencies in the context of self-learning. As mentioned in the introduction part of the study, one of the most important objectives of the German Language Teaching Department is to help German language teacher candidates become competent in the linguistic, professional, and cultural dimensions. An especially crucial skill for German language teacher candidates is linguistic competence (reading, writing, speaking, and listening) in the teaching learning dimension. With regard to their evaluation of language levels, more than half of the participants (58%) classified their language levels as intermediate. Another important detail to note is that the number of participants who regard their language levels as weak or low (30%) was not scarce. In this respect, German language teacher candidates inevitably become more conscious about selflearning to develop their German language skills. One of the significant outcomes of this study is that German language teacher candidates evaluate the self-learning process as important. However, they possess a limited perspective on the context and need guidance and encouragement regarding self-learning. For this reason, one of the most important duties of the German Language Teaching Education Department is to arrange environments where active learning will be maintained for students, learning objectives will be determined, and taking responsibility will be specified and guided.&nbsp;</p>

Selbstständige Lerngewohnheiten der LehramtsanwärterInnen für Deutsch als Fremdsprache

Şeyda

Şenöz-Ayata, Canan (2014): Bilimsel Metin Üretimi, İstanbul: Papatya, 232 sayfa

Khrystyna

<p>The article analyzes television interviews in Ukrainian and German from the perspective of the personality of the interviewer and the difficulties that arise before and during that interview. Communicative deviations as differences in the expectations of the interviewer vis-à-vis the expectations of the respondent and the addressee are revealed and critically analyzed. Particular attention is paid to the triangle of relationships between the interviewer, the respondent, and the addressee (the viewer). Elements such as age, sex, status, knowledge, interests, and expectations play an important role in the building of relationships between the interviewer, the respondent, and the addressee. Therefore, they are important for the overall success of the interview. However, we believe that all these elements can be generalized under a hypernym of expectations. Accordingly, the journalist assumes three roles: a representative of the audience (the addressee), a promoter of the invited (the respondent), or a representative of himself/herself. In this article, we only draw on and reflect the deviations in the television interviews in both languages when the interviewer has other expectations about the interview than the respondent or the addressee (the viewer), which is a failure from the side of the first one, that is, the interviewer. Therefore, the two levels at which interviews are conducted are important. Namely, these are the informative level (receiving and providing information) and the emotional level (feelings and mutual understanding). The informative level includes informative purpose, types of questions, clarity of expression, clarity of answers, and content of information. The emotional level embraces climate (socio-emotional connection), non-verbal behavior, elaborative questions, intentional adjustment, and approaches to journalists and respondents. Yet, we believe that it is also noteworthy to include a third level, namely a contextually situational one. On the basis of empirical material, we have identified the following communicative deviations in the television interviews from the perspective of the interviewer: 1. The goal is not set or is prepared inaccurately, 2. The topic is too broad, 3. Inappropriate respondent, 4. The respondent is not sufficiently prepared for the interview, 5. Difficulties in conducting interviews (such as issues with equipment or problems with shooting), 6. The respondent is not listening (in some situations this prevents the opening of a dialog altogether), 7. Too conventional and fixed list of questions, 8. Lack of time for preparation, and 9. Wrong approach to the respondent in terms of his/her expectations regarding age, gender, status, knowledge, and interests. Taking into account the communicative failures in the television interviews we have analyzed before, one can distinguish the following ways of eliminating them: 1. Clearly define the goal of the interview, 2. Find the appropriate communication partner in terms of his/her skills and the ability to speak, 3. Create a favorable atmosphere in the previous conversation to properly prepare the respondent for the communication, 4. Carefully listen to the respondent, 5. During the interview itself, the content, the intention of the respondent, the language, and the speaking&nbsp;manner of the respondent, as well as the body language, and facial expressions and gestures of the respondent should be additionally observed, and 6. In cases when the interviewer is evading a question or does not want to respond at all, one can resort to these tactics. Communicative deviations as violations of the interviewer’s expectations in all their forms can be avoided, or at least reduced, if all the elements of communication at the informative and emotional level—and very often at the communicative-situational level—are taken into account, and greater attention is also paid to technical characteristics. This will contribute to an interesting and dynamic, understandable and consistent, and most importantly, informative television interview. At the same time, there were no significant differences in the television interviews in Ukrainian (more cautious and sensitive questions) or in German (more specific and targeted questions), for the journalists’ European way of conducting television interviews is similar in both linguistic cultures, and the differences are due to the historical development of democracy.</p>

Das politische Fernsehinterview und kommunikative Misserfolge für Journalisten

Gesellschaft für interkulturelle Germanistik 2014 yılı kongresi 29 Mayıs-1 Haziran 2014, Limerick

Diskursanalyse interdisziplinär, Bremen - Berlin 17.08.2014 - 31.08.2014

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Alman Dili ve Edebiyatı Dergisi - Studien zur deutschen Sprache und Literatur, İstanbul Üniversitesi, Edebiyat Fakültesi, Alman Dili ve Edebiyatı Anabilim Dalı tarafından 1954 yılından beri yayınlanan, uluslararası, hakemli, açık erişimli yılda iki kere Haziran ve Aralık aylarında çıkarılan bilimsel bir dergidir.

Alman Dili ve Edebiyatı Dergisi - Studien zur deutschen Sprache und Literatur dergisinde, Alman dili ve edebiyatına odaklanılarak yapılan edebiyat bilimi, dilbilim, göstergebilim, kültürbilimi, medyabilimi ve film çalışmaları alanlarındaki disipliner ve/veya disiplinlerarası, kuramsal ve/veya uygulamalı çalışmalar yer almaktadır. Dergi bu alanlarda bilimsel bilginin paylaşıldığı global bir platform oluşturmayı amaçlar.

Dergide, araştırma makalelerinin yanı sıra, yukarıda sıralanan alanlarda yazılmış bilimsel kitapların tanıtıldığı inceleme yazılarına ve yine aynı alanlarda düzenlenen ulusal veya uluslararası kongrelerin tanıtım yazılarına da yer verilmektedir. Derginin yayın dilleri Almanca, İngilizce ve Türkçe’dir. Derginin hedef kitlesini akademisyenler, araştırmacılar, profesyoneller, lisansüstü öğrenciler ve ilgili mesleki, akademik kurum ve kuruluşlar oluşturur.

Derginin tüm giderleri İstanbul Üniversitesi tarafından karşılanmaktadır. Dergide makale yayını ve makale süreçlerinin yürütülmesi ücrete tabi değildir. Dergiye gönderilen ya da yayın için kabul edilen makaleler için işlemleme ücreti ya da gönderim ücreti alınmaz. Açık Erişim İlkesi ve Telif Hakkında bilgi için: http://sdsl.istanbul.edu.tr/tr/content/hakkimizda/acik-erisim-ilkesi

MLA International Bibliography

ProQuest

Scopus

Emerging Sources Citation Index (ESCI)

EBSCO

ERIH PLUS

TR Dizin

DOAJ

SOBIAD

MIAR

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Alman Dili ve Edebiyatı Dergisi

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<p><span style="font-size: 10.0pt;">Alman Dili ve Edebiyatı Dergisi - Studien zur deutschen Sprache und Literatur, İstanbul Üniversitesi, Edebiyat Fakültesi, Alman Dili ve Edebiyatı Anabilim Dalı tarafından 1954 yılından beri yayınlanan, uluslararası, hakemli, açık erişimli yılda iki kere Haziran ve Aralık aylarında çıkarılan bilimsel bir dergidir.</span></p><p><font size="2">Alman Dili ve Edebiyatı Dergisi - Studien zur deutschen Sprache und Literatur dergisinde, Alman dili ve edebiyatına odaklanılarak yapılan edebiyat bilimi, dilbilim, Göstergebilim, kültürbilimi, medyabilimi ve film çalışmaları alanlarındaki disipliner ve/veya disiplinlerarası, kuramsal ve/veya uygulamalı çalışmalar yer almaktadır. Dergi bu alanlarda bilimsel bilginin paylaşıldığı global bir platform oluşturmayı amaçlar.</font></p><p><span style="font-size: 10.0pt;">Dergide, araştırma makalelerinin yanı sıra, yukarıda sıralanan alanlarda yazılmış bilimsel kitapların tanıtıldığı inceleme yazılarına ve yine aynı alanlarda düzenlenen ulusal veya uluslararası kongrelerin tanıtım yazılarına da yer verilmektedir. Derginin yayın dilleri Almanca, İngilizce ve Türkçe’dir. Derginin hedef kitlesini akademisyenler, araştırmacılar, profesyoneller, lisansüstü öğrenciler ve ilgili mesleki, akademik kurum ve kuruluşlar oluşturur.</span></p>

Amaç ve Kapsam

<p><span style="font-size: 10.0pt;">- SCOPUS<br/></span><span style="font-size: 10pt;"><br/>- Web of Science - Emerging Sources Citation Index (ESCI)</span><span style="font-size: 10.0pt;"><br/></span></p><p><span style="font-size: 10.0pt;">- TÜBİTAK-ULAKBİM TR Dizin</span></p><p></p><p>- EBSCO Communication Source</p><p>- EBSCO Central &amp; Eastern European Academic Source<br/></p><p></p><p><span style="font-size: 10.0pt;">- MLA International Bibliography</span></p><p><span style="font-size: 10.0pt;">- SOBIAD</span></p><p></p><p>- DOAJ</p><p>- ProQuest Central</p><p>- ProQuest Turkey Database</p><p>- ProQuest Social Sciences Database</p><p>- ProQuest Social Sciences Premium Collection</p><p>- Erih Plus</p><p>- <a href="https://miar.ub.edu/issn/2619-9890" target="_blank">MIAR</a></p><p></p>

Dizinler

<p><span style="font-size: 10.0pt;">Dergi yayın etiğinde en yüksek standartlara bağlıdır ve <a href="https://publicationethics.org/" target="_blank">Committee on Publication Ethics (COPE)</a>, <a href="https://doaj.org/apply/transparency/#principles-of-transparency-and-best-practice-in-scholarly-publishing" target="_blank">Directory of Open Access Journals (DOAJ)</a>, <a href="https://oaspa.org/" target="_blank">Open Access Scholarly Publishers Association (OASPA)</a> ve <a href="https://www.wame.org/" target="_blank">World Association of Medical Editors (WAME)</a> tarafından yayınlanan etik yayıncılık ilkelerini benimser; Principles of Transparency and Best Practice in Scholarly Publishing başlığı altında ifade edilen ilkeler için: </span><a href="https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing" target="_blank"><span style="font-size: 10.0pt;">https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing</span></a><span style="font-size: 10.0pt;"> </span></p><p><span style="font-size: 10.0pt;">Gönderilen makaleler derginin amaç ve kapsamına uygun olmalıdır. Orijinal, yayınlanmamış ve başka bir dergide değerlendirme sürecinde olmayan, her bir yazar tarafından içeriği ve gönderimi onaylanmış yazılar değerlendirmeye kabul edilir. </span></p><p><span style="font-size: 10.0pt;">Makale yayınlanmak üzere Dergiye gönderildikten sonra yazarlardan hiçbirinin ismi, tüm yazarların yazılı izni olmadan yazar listesinden silinemez ve yeni bir isim yazar olarak eklenemez ve yazar sırası değiştirilemez.</span></p><p><span style="font-size: 10.0pt;">İntihal, duplikasyon, sahte yazarlık/inkar edilen yazarlık, araştrma/veri fabrikasyonu, makale dilimleme, dilimleyerek yayın, telif hakları ihlali ve çıkar çatışmasının gizlenmesi, etik dışı davranışlar olarak kabul edilir. Kabul edilen etik standartlara uygun olmayan tüm makaleler yayından çıkarılır. Buna yayından sonra tespit edilen olası kuraldışı, uygunsuzluklar içeren makaleler de dahildir.</span></p><p><b><i><span style="font-size: 10.0pt;">İntihal </span></i></b></p><p><span style="font-size: 10.0pt;">Ön kontrolden geçirilen makaleler, iThenticate yazılımı kullanılarak intihal için taranır. İntihal/kendi kendine intihal tespit edilirse yazarlar bilgilendirilir. Editörler, gerekli olması halinde makaleyi değerlendirme ya da üretim sürecinin çeşitli aşamalarında intihal kontrolüne tabi tutabilirler. Yüksek benzerlik oranları, bir makalenin kabul edilmeden önce ve hatta kabul edildikten sonra reddedilmesine neden olabilir. Makalenin türüne bağlı olarak, bunun oranın %10'dan az olması beklenir.</span></p><p></p><p>Dergimizde lisans, yüksek lisans ve doktora tezleri ile tam metin ya da özet olarak yayınlanmış olan kongre bildirilerinden üretilen çalışmalara yer verilmemektedir.<br/></p><p></p><p><b><i><span style="font-size: 10.0pt;">Çift Kör Hakemlik</span></i></b></p><p><span style="font-size: 10.0pt;">İntihal kontrolünden sonra, uygun olan makaleler baş editör tarafından orijinallik, metodoloji, işlenen konunun önemi ve dergi kapsamı ile uyumluluğu açısından değerlendirilir. Editör, makalelerin adil bir şekilde çift taraflı kör hakemlikten geçmesini sağlar ve makale biçimsel esaslara uygun ise, gelen yazıyı yurtiçinden ve /veya yurtdışından en az iki hakemin değerlendirmesine sunar, hakemler gerek gördüğü takdirde yazıda istenen değişiklikler yazarlar tarafından yapıldıktan sonra yayınlanmasına onay verir.</span></p>                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                               

Politikalar

<p><span style="font-size: 10.0pt;">Dergi açık erişimlidir ve derginin tüm içeriği okura ya da okurun dahil olduğu kuruma ücretsiz olarak sunulur. Okurlar, ticari amaç haricinde, yayıncı ya da yazardan izin almadan dergi makalelerinin tam metnini okuyabilir, indirebilir, kopyalayabilir, arayabilir ve link sağlayabilir. Bu </span><a href="https://www.budapestopenaccessinitiative.org/translations/turkish-translation" target="_blank"><span style="font-size: 10.0pt;">BOAI</span></a><span style="font-size: 10.0pt;"> açık erişim tanımıyla uyumludur. </span></p><p><span style="font-size: 10.0pt;">Derginin açık erişimli makaleleri Creative Commons Atıf-GayrıTicari 4.0 Uluslararası (</span><a href="https://creativecommons.org/licenses/by-nc/4.0/deed.tr" target="_blank"><span style="font-size: 10.0pt;">CC BY-NC 4.0</span></a><span style="font-size: 10.0pt;">) olarak lisanslıdır.</span></p>

<p><span style="font-size: 10.0pt;">Derginin tüm giderleri İstanbul Üniversitesi tarafından karşılanmaktadır. Dergide makale yayını ve makale süreçlerinin yürütülmesi ücrete tabi değildir. Dergiye gönderilen ya da yayın için kabul edilen makaleler için işlemleme ücreti ya da gönderim ücreti alınmaz.</span></p>

<p><span style="font-size: 10.0pt;">Yazarlar dergide yayınlanan çalışmalarının telif hakkına sahiptirler ve çalışmaları  Creative Commons Atıf-GayrıTicari 4.0 Uluslararası (</span><a href="https://creativecommons.org/licenses/by-nc/4.0/deed.tr" target="_blank"><span style="font-size: 10.0pt;">CC BY-NC 4.0</span></a><span style="font-size: 10.0pt;">) olarak lisanslıdır. CC BY-NC 4.0 lisansı, eserin ticari kullanım dışında her boyut ve formatta paylaşılmasına, kopyalanmasına, çoğaltılmasına ve orijinal esere uygun şekilde atıfta bulunmak kaydıyla yeniden düzenleme, dönüştürme ve eserin üzerine inşa etme dâhil adapte edilmesine izin verir.</span></p>

<p><span style="font-size: 10.0pt;">Editörler, yayınlanan makalede, bulguları, yorumları ve sonuçları etkilemeyen küçük hatalar tespit edilirse düzeltme yayınlamayı düşünebilirler. Editörler, bulguları ve sonuçları geçersiz kılan büyük hatalar / ihlaller söz konusu olduğunda, makaleyi geri çekmeyi düşünmelidir. </span></p><p><span style="font-size: 10.0pt;">Yazarlar tarafından araştırma veya yayını kötüye kullanmaya yönelik olasılık söz konusu ise; bulguların güvenilir olmadığına ve yazarların kurumlarının olayı soruşturmadığına dair kanıtlar var veya olası soruşturma haksız veya sonuçsuz görünüyor ise, editörler endişe ifadesi yayınlamayı düşünmelidir. Düzeltme, geri çekme veya endişe ifadesi ile ilgili olarak <a href="https://publicationethics.org/resources/flowcharts/complete-set-english" target="_blank">COPE</a> ve <a href="https://www.icmje.org/about-icmje/faqs/conflict-of-interest-disclosure-forms/" target="_blank">ICJME</a> yönergeleri dikkate alınır.</span></p>

<p><span style="font-size: 10.0pt;">Dergide yayınlanan tüm yazıların korunmasını ve kalıcı olarak erişilebilir olmasını sağlamak için makaleler, ulusal bir arşiv sitesi olarak hizmet veren ve aynı zamanda LOCKSS'in içeriği toplamasına, korumasına ve sunmasına izin veren Dergipark'ta saklanmaktadır.</span></p><p><span style="font-size: 10.0pt;">Ek olarak, yazarların kendilerinin makalelerinin son PDF sürümünü Open Archives Initiative (<a href="https://www.openarchives.org/" target="_blank">https://www.openarchives.org/</a>) standartlarına uygun açık elektronik arşivlerde arşivlemeleri önerilir. Yazarlar, yayınladıkları arşiv versiyonundan, İ.Ü. Yayınevinin dergi web sitesinin URL'sine bağlantı sağlamalıdır.</span></p>

<p style="text-align: left;">Alman Dili ve Edebiyatı Dergisi - Studien zur deutschen Sprache und Literatur, yayın etiğinde en yüksek standartlara bağlıdır ve <a href="https://publicationethics.org/" target="_blank">Committee on Publication Ethics (COPE)</a>, <a href="https://doaj.org/apply/transparency/#principles-of-transparency-and-best-practice-in-scholarly-publishing" target="_blank">Directory of Open Access Journals (DOAJ)</a>, <a href="https://oaspa.org/" target="_blank">Open Access Scholarly Publishers Association (OASPA)</a> ve <a href="https://www.wame.org/" target="_blank">World Association of Medical Editors (WAME)</a> tarafından yayınlanan etik yayıncılık ilkelerini benimser; Principles of Transparency and Best Practice in Scholarly Publishing başlığı altında ifade edilen ilkeler için adres: <a href="https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing" target="_blank">https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing</a></p><p></p><p style="text-align: justify;"><span style="font-size: 10.0pt;">Gönderilen tüm makaleler orijinal, yayınlanmamış ve başka bir dergide değerlendirme sürecinde olmamalıdır. Her bir makale editörlerden biri ve en az iki hakem tarafından çift kör değerlendirmeden geçirilir. İntihal, duplikasyon, sahte yazarlık/inkar edilen yazarlık, araştrma/veri fabrikasyonu, makale dilimleme, dilimleyerek yayın, telif hakları ihlali ve çıkar çatışmasının gizlenmesi, etik dışı davranışlar olarak kabul edilir.</span></p><p style="text-align: justify;"><span style="font-size: 10.0pt;">Kabul edilen etik standartlara uygun olmayan tüm makaleler yayından çıkarılır. Buna yayından sonra tespit edilen olası kuraldışı, uygunsuzluklar içeren makaleler de dahildir.</span></p><p><br/></p>

Etik

<p><span style="font-size: 10.0pt;">Dergi araştırma etiğinde en yüksek standartları gözetir ve aşağıda tanımlanan uluslararası araştırma etiği ilkelerini benimser. Makalelerin etik kurallara uygunluğu yazarların sorumluluğundadır.</span></p><ul><li><span style="font-size: 10.0pt;">Araştırmanın tasarlanması, tasarımın gözden geçirilmesi ve araştırmanın yürütülmesinde, bütünlük, kalite ve şeffaflık ilkeleri sağlanmalıdır.</span></li><li><span style="font-size: 10.0pt;">Araştırma ekibi ve katılımcılar, araştırmanın amacı, yöntemleri ve öngörülen olası kullanımları; araştırmaya katılımın gerektirdikleri ve varsa riskleri hakkında tam olarak bilgilendirilmelidir.</span></li><li><span style="font-size: 10.0pt;">Araştırma katılımcılarının sağladığı bilgilerin gizliliği ve yanıt verenlerin gizliliği sağlanmalıdır. Araştırma katılımcıların özerkliğini ve saygınlığını koruyacak şekilde tasarlanmalıdır.</span></li><li><span style="font-size: 10.0pt;">Araştırma katılımcıları gönüllü olarak araştırmada yer almalı, herhangi bir zorlama altında olmamalıdırlar.</span></li><li><span style="font-size: 10.0pt;">Katılımcıların zarar görmesinden kaçınılmalıdır. Araştırma, katılımcıları riske sokmayacak şekilde planlanmalıdır.</span></li><li><span style="font-size: 10.0pt;">Araştırma bağımsızlığıyla ilgili açık ve net olunmalı; çıkar çatışması varsa belirtilmelidir.</span></li><li><span style="font-size: 10.0pt;">Deneysel çalışmalarda, araştırmaya katılmaya karar veren katılımcıların yazılı bilgilendirilmiş onayı alınmalıdır. Çocukların ve vesayet altındakilerin veya tasdiklenmiş akıl hastalığı bulunanların yasal vasisinin onayı alınmalıdır.</span></li><li><span style="font-size: 10.0pt;">Çalışma herhangi bir kurum ya da kuruluşta gerçekleştirilecekse bu kurum ya da kuruluştan çalışma yapılacağına dair onay alınmalıdır.</span></li><li><span style="font-size: 10.0pt;">İnsan öğesi bulunan çalışmalarda, “yöntem” bölümünde katılımcılardan “bilgilendirilmiş onam” alındığının ve çalışmanın yapıldığı kurumdan etik kurul onayı alındığı belirtilmesi gerekir.</span></li></ul>                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                 

<p><span style="font-size: 10.0pt;">Makalelerin bilimsel ve etik kurallara uygunluğu yazarların sorumluluğundadır. Yazar makalenin orijinal olduğu, daha önce başka bir yerde yayınlanmadığı ve başka bir yerde, başka bir dilde yayınlanmak üzere değerlendirmede olmadığı konusunda teminat sağlamalıdır. Uygulamadaki telif kanunları ve anlaşmaları gözetilmelidir. Telife bağlı materyaller (örneğin tablolar, şekiller veya büyük alıntılar) gerekli izin ve teşekkürle kullanılmalıdır. Başka yazarların, katkıda bulunanların çalışmaları ya da yararlanılan kaynaklar uygun biçimde kullanılmalı ve referanslarda belirtilmelidir.</span></p><p><span style="font-size: 10.0pt;">Gönderilen makalede tüm yazarların akademik ve bilimsel olarak doğrudan katkısı olmalıdır, bu bağlamda “yazar” yayınlanan bir araştırmanın kavramsallaştırılmasına ve dizaynına, verilerin elde edilmesine, analizine ya da yorumlanmasına belirgin katkı yapan, yazının yazılması ya da bunun içerik açısından eleştirel biçimde gözden geçirilmesinde görev yapan birisi olarak görülür. Yazar olabilmenin diğer koşulları ise, makaledeki çalışmayı planlamak veya icra etmek ve / veya revize etmektir. Fon sağlanması, veri toplanması ya da araştırma grubunun genel süpervizyonu tek başına yazarlık hakkı kazandırmaz. Yazar olarak gösterilen tüm bireyler sayılan tüm ölçütleri karşılamalıdır ve yukarıdaki ölçütleri karşılayan her birey yazar olarak gösterilebilir. Yazarların isim sıralaması ortak verilen bir karar olmalıdır. Tüm yazarlar yazar sıralamasını <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/9A212C54F9F0458D801DE5E6BEC89A2C" target="_blank">Telif Hakkı Anlaşması Formu</a>'nda imzalı olarak belirtmek zorundadırlar.</span></p><p><span style="font-size: 10.0pt;">Yazarlık için yeterli ölçütleri karşılamayan ancak çalışmaya katkısı olan tüm bireyler “teşekkür / bilgiler” kısmında sıralanmalıdır. Bunlara örnek olarak ise sadece teknik destek sağlayan, yazıma yardımcı olan ya da sadece genel bir destek sağlayan, finansal ve materyal desteği sunan kişiler verilebilir.</span></p><p><span style="font-size: 10.0pt;">Bütün yazarlar, araştırmanın sonuçlarını ya da bilimsel değerlendirmeyi etkileyebilme potansiyeli olan finansal ilişkiler, çıkar çatışması ve çıkar rekabetini beyan etmelidirler. Bir yazar kendi yayınlanmış yazısında belirgin bir hata ya da yanlışlık tespit ederse, bu yanlışlıklara ilişkin düzeltme ya da geri çekme için editör ile hemen temasa geçme ve işbirliği yapma sorumluluğunu taşır.</span></p>                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                              

<p><span style="font-size: 10.0pt;">Baş editör, makaleleri, yazarların etnik kökeninden, cinsiyetinden, cinsel yöneliminden, uyruğundan, dini inancından ve siyasi felsefesinden bağımsız olarak değerlendirir. Yayına gönderilen makalelerin adil bir şekilde çift taraflı kör hakem değerlendirmesinden geçmelerini sağlar. Gönderilen makalelere ilişkin tüm bilginin, makale yayınlanana kadar gizli kalacağını garanti eder. Baş editör içerik ve yayının toplam kalitesinden sorumludur. Gereğinde hata sayfası yayınlamalı ya da düzeltme yapmalıdır.</span></p><p><span style="font-size: 10.0pt;">Baş editör; yazarlar, editörler ve hakemler arasında çıkar çatışmasına izin vermez. Hakem atama konusunda tam yetkiye sahiptir ve Dergide yayınlanacak makalelerle ilgili nihai kararı vermekle yükümlüdür.</span></p><p><span style="font-size: 10.0pt;">Hakemlerin araştırmayla ilgili, yazarlarla ve/veya araştırmanın finansal destekçileriyle çıkar çatışmaları olmamalıdır. Değerlendirmelerinin sonucunda tarafsız bir yargıya varmalıdırlar. Gönderilmiş yazılara ilişkin tüm bilginin gizli tutulmasını sağlamalı ve yazar tarafında herhangi bir telif hakkı ihlali ve intihal fark ederlerse editöre raporlamalıdırlar. Hakem, makale konusu hakkında kendini vasıflı hissetmiyor ya da zamanında geri dönüş sağlaması mümkün görünmüyorsa, editöre bu durumu bildirmeli ve hakem sürecine kendisini dahil etmemesini istemelidir.</span></p><p><span style="font-size: 10.0pt;">Değerlendirme sürecinde editör hakemlere gözden geçirme için gönderilen makalelerin, yazarların özel mülkü olduğunu ve bunun imtiyazlı bir iletişim olduğunu açıkça belirtir. Hakemler ve yayın kurulu üyeleri başka kişilerle makaleleri tartışamazlar. Hakemlerin kimliğinin gizli kalmasına özen gösterilmelidir. Bazı durumlarda editörün kararıyla, ilgili hakemlerin makaleye ait yorumları aynı makaleyi yorumlayan diğer hakemlere gönderilerek hakemlerin bu süreçte aydınlatılması sağlanabilir.</span></p>

<p><span style="font-size: 10.0pt;">Daha önce yayınlanmamış ya da yayınlanmak üzere başka bir dergide halen değerlendirmede olmayan ve her bir yazar tarafından onaylanan makaleler değerlendirilmek üzere kabul edilir. Gönderilen ve ön kontrolü geçen makaleler iThenticate yazılımı kullanılarak intihal için taranır. İntihal kontrolünden sonra, uygun olan makaleler baş editör tarafından orijinallik, metodoloji, işlenen konunun önemi ve dergi kapsamı ile uyumluluğu açısından değerlendirilir. </span></p><p><span style="font-size: 10.0pt;">Seçilen makaleler en az iki ulusal/uluslararası hakeme çift taraflı kör hakemlik ile değerlendirmeye gönderilir; yayın kararı, hakemlerin talepleri doğrultusunda yazarların gerçekleştirdiği düzenlemelerin ve hakem sürecinin sonrasında baş editör tarafından verilir.</span></p>

Hakemlik Hakkında

<p><span style="font-size: 10.0pt;">Baş editör, makaleleri, yazarların etnik kökeninden, cinsiyetinden, uyruğundan, dini inancından ve siyasi felsefesinden bağımsız olarak değerlendirirler. Yayına gönderilen makalelerin adil bir şekilde çift taraflı kör hakem değerlendirmesinden geçmelerini sağlar. Gönderilen makalelere ilişkin tüm bilginin, makale yayınlanana kadar gizli kalacağını garanti eder. </span></p><p><span style="font-size: 10.0pt;">Baş editör içerik ve yayının toplam kalitesinden sorumludur. Gereğinde hata sayfası yayınlamalı ya da düzeltme yapmalıdır. </span></p><p><span style="font-size: 10.0pt;">Baş editör; yazarlar, editörler ve hakemler arasında çıkar çatışmasına izin vermez. Hakem atama konusunda tam yetkiye sahiptir ve dergide yayınlanacak makalelerle ilgili nihai kararı vermekle yükümlüdür.</span></p><p><span style="font-size: 10.0pt;">Hakemler, araştırma, yazarlar ve/veya araştırmaya fon sağlayanlarla çıkar çatışması içinde olmamalıdır. Hakemler değerlendirmelerinin sonucunda tarafsız bir yargıya varmalıdırlar. Gönderilmiş yazılara ilişkin tüm bilginin gizli tutulmasını sağlamalı ve yazar tarafında herhangi bir telif hakkı ihlali ve intihal fark ederlerse editöre raporlamalıdırlar. </span></p><p><span style="font-size: 10.0pt;">Hakem, makale konusu hakkında kendini vasıflı hissetmiyor ya da zamanında geri dönüş sağlaması mümkün görünmüyorsa, editöre bu durumu bildirmeli ve hakem sürecine kendisini dahil etmemesini istemelidir.</span></p><p><span style="font-size: 10.0pt;">Değerlendirme sürecinde editör hakemlere gözden geçirme için gönderilen makalelerin, yazarların özel mülkü olduğunu ve bunun imtiyazlı bir iletişim olduğunu açıkça belirtir. Hakemler ve yayın kurulu üyeleri başka kişilerle makaleleri tartışamazlar. Hakemlerin kimliğinin gizli kalmasına özen gösterilmelidir. Bazı durumlarda editörün kararıyla, ilgili hakemlerin makaleye ait yorumları aynı makaleyi yorumlayan diğer hakemlere gönderilerek hakemlerin bu süreçte aydınlatılması sağlanabilir.</span></p>                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                               

<p><span style="font-size: 10.0pt;">Daha önce yayınlanmamış ya da yayınlanmak üzere başka bir dergide halen değerlendirmede olmayan ve her bir yazar tarafından onaylanan makaleler değerlendirilmek üzere kabul edilir. Gönderilen ve ön kontrolü geçen makaleler iThenticate yazılımı kullanılarak intihal için taranır. İntihal kontrolünden sonra, uygun olan makaleler baş editör tarafından orijinallik, metodoloji, işlenen konunun önemi ve dergi kapsamı ile uyumluluğu açısından değerlendirilir.</span></p><p><span style="font-size: 10.0pt;">Baş Editör, makaleleri, yazarların etnik kökeninden, cinsiyetinden, uyruğundan, dini inancından ve siyasi felsefesinden bağımsız olarak değerlendirir. Yayına gönderilen makalelerin adil bir şekilde çift taraflı kör hakem değerlendirmesinden geçmelerini sağlar.</span></p><p><span style="font-size: 10.0pt;">Seçilen makaleler en az iki ulusal/uluslararası hakeme değerlendirmeye gönderilir; yayın kararı, hakemlerin talepleri doğrultusunda yazarların gerçekleştirdiği düzenlemelerin ve hakem sürecinin sonrasında baş editör tarafından verilir.</span></p><p><span style="font-size: 10.0pt;">Baş editör; yazarlar, editörler ve hakemler arasında çıkar çatışmasına izin vermez. Hakem atama konusunda tam yetkiye sahiptir ve dergide yayınlanacak makalelerle ilgili nihai kararı vermekle yükümlüdür.</span></p><p><span style="font-size: 10.0pt;">Hakemlerin değerlendirmeleri objektif olmalıdır. Hakem süreci sırasında hakemlerin aşağıdaki hususları dikkate alarak değerlendirmelerini yapmaları beklenir.</span></p><p><span style="font-size: 10.0pt;">-Makale yeni ve önemli bir bilgi içeriyor mu?</span></p><p><span style="font-size: 10.0pt;">-Öz, makalenin içeriğini net ve düzgün bir şekilde tanımlıyor mu?</span></p><p><span style="font-size: 10.0pt;">-Yöntem bütünlüklü ve anlaşılır şekilde tanımlanmış mı?</span></p><p><span style="font-size: 10.0pt;">-Yapılan yorum ve varılan sonuçlar bulgularla kanıtlanıyor mu?</span></p><p><span style="font-size: 10.0pt;">-Alandaki diğer çalışmalara yeterli referans verilmiş mi?</span></p><p><span style="font-size: 10.0pt;">-Dil kalitesi yeterli mi?</span></p><p><span style="font-size: 10.0pt;">Hakemler, gönderilen makalelere ilişkin tüm bilginin, makale yayınlanana kadar gizli kalmasını sağlamalı ve yazar tarafında herhangi bir telif hakkı ihlali ve intihal fark ederlerse editöre raporlamalıdırlar. </span></p><p><span style="font-size: 10.0pt;">Hakem, makale konusu hakkında kendini vasıflı hissetmiyor ya da zamanında geri dönüş sağlaması mümkün görünmüyorsa, editöre bu durumu bildirmeli ve hakem sürecine kendisini dahil etmemesini istemelidir.</span></p><p><span style="font-size: 10.0pt;">Değerlendirme sürecinde editör hakemlere gözden geçirme için gönderilen makalelerin, yazarların özel mülkü olduğunu ve bunun imtiyazlı bir iletişim olduğunu açıkça belirtir. Hakemler ve yayın kurulu üyeleri başka kişilerle makaleleri tartışamazlar. Hakemlerin kimliğinin gizli kalmasına özen gösterilmelidir.</span></p>                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                             

<div style="text-align: left;"><b>Dil</b></div><div><div style="text-align: left;"><b><br/></b></div><div style="text-align: left;">Dergide Türkçe, Almanca ve İngilizce makaleler yayınlanır. Her makalede, makale dilinde öz ve İngilizce öz olmalıdır. Tüm makalelerde ayrıca İngilizce geniş özet yer almalıdır.</div></div><div><div style="text-align: left;"><b><br/></b></div><b></b><div style="text-align: left;"><b>Yazıların Hazırlanması</b></div></div><div><div style="text-align: left;"><b><br/></b></div><div style="text-align: left;">Aksi belirtilmedikçe gönderilen yazılarla ilgili tüm yazışmalar ilk yazarla yapılacaktır. Makale gönderimi online olarak ve <a href="https://dergipark.org.tr/tr/pub/iuaded" target="_blank">https://dergipark.org.tr/tr/pub/iuaded</a> üzerinden yapılmalıdır. Gönderilen yazılar, yazının yayınlanmak üzere gönderildiğini ifade eden, makale türünü belirten ve makaleyle ilgili detayları içeren (bkz: Son Kontrol Listesi) bir mektup; yazının elektronik formunu içeren Microsoft Word 2003 ve üzerindeki versiyonları ile yazılmış elektronik dosya ve tüm yazarların imzaladığı <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/9A212C54F9F0458D801DE5E6BEC89A2C" target="_blank"><b>Telif Hakkı Anlaşması Formu</b></a> eklenerek gönderilmelidir.</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">1.    Çalışmalar, A4 boyutundaki kağıdın bir yüzüne, üst, alt, sağ ve sol taraftan 2,5 cm. boşluk bırakılarak, 10 punto Times New Roman harf karakterleriyle ve 1,5 satır aralık ölçüsü ile ve iki yana yaslı olarak hazırlanmalıdır. Paragraf başlarında tab tuşu kullanılmalıdır.</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">2.    Metnin başlığı küçük harf, koyu renk, Times New Roman yazı tipi olarak sayfanın ortasında yer almalıdır.</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">3.    Giriş bölümünden önce 200-250 kelimelik çalışmanın kapsamını, amacını, ulaşılan sonuçları ve kullanılan yöntemi kaydeden makale dilinde ve İngilizce öz ile 600-800 kelimelik İngilizce genişletilmiş özet yer almalıdır. Çalışmanın İngilizce başlığı İngilizce özün üzerinde yer almalıdır. İngilizce ve makale dilinde özlerin altında çalışmanın içeriğini temsil eden, makale dilinde 5 adet, İngilizce 5 adet anahtar kelime yer almalıdır.<br/><br/></div><div style="text-align: left;">4. Makalelerin, özet(ler) ve genişletilmiş özet hariç, 5000 - 8000 kelime aralığında olması gerekmektedir.</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">5.    Çalışmaların başlıca şu unsurları içermesi gerekmektedir: Makale dilinde başlık, öz ve anahtar kelimeler; İngilizce başlık öz ve anahtar kelimeler; İngilizce genişletilmiş özet, ana metin bölümleri, son notlar ve kaynaklar.</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">6.    Nicel ve nitel çalışmalar, Giriş, Yöntem, Bulgular, Tartışma bölümlerini içermelidir. Yöntem kısmında, eğer özgün bir model kullanılmışsa, model alt bölümü ile mutlaka Örneklem/Çalışma Grubu, Veri Toplama Araçları ve İşlem alt bölümleri bulunmalıdır.</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">7.    Çalışmalarda tablo, grafik ve şekil gibi göstergeler çalışmanın takip edilebilmesi açısından numaralandırılarak, tanımlayıcı bir başlık ile birlikte metin içinde verilmelidir.</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">8.    Yayınlanmak üzere gönderilen makale ile birlikte yazar bilgilerini içeren <b><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/4E414315E68D473D96D7AA06F9B11F48" target="_blank">kapak sayfası</a></b> gönderilmelidir. Kapak sayfasında, makalenin başlığı, yazar veya yazarların bağlı bulundukları kurum ve unvanları, kendilerine ulaşılabilecek adresler, telefon numarası, e-posta adresleri ve ORCID’leri yer almalıdır (bkz. Son Kontrol Listesi).</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">9.    Tablolar, Şekiller ve Resimler</div><div style="text-align: left;"><br/></div><div style="text-align: left;">Tablo, şekiller ve resimler bold olarak yazılmalıdır. Her tablo, şekil ve resim ayrı ayrı numaralandırmalı ve tamamının içeriğini özetleyen bir başlığı olmalıdır. Tablo, şekil veya resimle ilgili belirtilmesi gereken daha detaylı bilgiler varsa dipnotta verilmelidir. Başlık ile tablo/şekil/resim arasında bir satır boşluk bırakılmalıdır. </div></div><div><div style="text-align: left;">  </div><div style="text-align: left;">        Örnek: Tablo 1: Öğrencilerin Dil Kullanımı  / Resim 1: René Magritte İmgelerin Laneti</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">10.    Metinde derginin yayın dilleri olan Türkçe, Almanca ve İngilizce haricindeki tüm sözcükler/tümceler italik yazılmalıdır.</div><div style="text-align: left;"><br/></div><div style="text-align: left;">        Örnekler: 1968 führte Jacques Derrida den Begriff la différance in die Philosophie ein.</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">                   Lexikalisch zentral sind die Wörter pelle, rughe, viso und luce.</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">11.    Metin içi alıntılar orijinal metinde nasılsa (italik/bold/düz) makalede de öyle verilmelidir.</div><div style="text-align: left;">Uzunluğu en fazla 3 satıra kadar olan alıntılar şu noktalama işaretleri ile verilmelidir:</div><div style="text-align: left;"><br/></div><div style="text-align: left;">“….” (TR/İNG) ,,……“ (ALM) ile, eğer daha uzunsa blok alıntı olarak ayrı verilmelidir. Daha uzun alıntılar blok alıntı biçiminde verilmeli ve kesinlikle tırnak işareti veya başka bir işaret kullanılmamalıdır. Her alıntının kaynağı (tarih ve sayfa numarası) belirtilmelidir.</div><div style="text-align: left;"><br/></div><div style="text-align: left;">Örnek: Almanca yazılmış bir makalede kısa alıntı &gt; Die Szene eröffnet mit dem Ausspruch „Pietro Aretino war ein Spötter, / Und trotzdem hat ihn Tizian gemalt.“ (Wedekind, 2009, Band VII,1, S. 275).</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">Almanca yazılmış bir makalede uzun alıntı &gt; Gegen Ende der Szene stürmt der Polizeipräsident die Bühne und versucht, das Publikum vor der Nacktheit zu schützen:</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">Besteht das Publikum da unten vielleicht aus Paradieskindern? Nein! Besteht das Publikum aus lauter Geistesgrößen? Nein! Der normale Staatsbürger kann nun einmal die Wahrheit nicht hören und die Nacktheit nicht sehen, ohne außer Rand und Band zu geraten, ohne gemeingefährlich zu werden. (Wedekind, 2009, Band VII,1, S. 281)</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">İngilizce yazılmış bir makalede kısa alıntı &gt; Lennard J. Davis writes “To understand the disabled body, one must return to the concept of the norm, the normal body” (Davis, 1995, p. 23).</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">İngilizce yazılmış bir makalede uzun alıntı &gt; The Author Lennard J. Davis continues,</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">So much of writing about disability has focused on the disabled person as the object of study, just as the study of race has focused on the person of color. But as recent scholarship on race, which has turned its attention to whiteness, I would like to focus not so much on the construction of disability as on the construction of normalcy. I do this because the problem is not the person with disabilities; the problem is the way that normalcy is constructed to create the ‘problem’ of the disabled person. (Davis, 1995, pp. 23–24)</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">Türkçe yazılmış bir makalede kısa alıntı &gt; Akşit Göktürk ütopya adasını “örnek yasalarla kurulmuş mutlu bir toplum düzeni” olarak tanımlar (Göktürk, 2012, s. 60-61).</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">Türkçe yazılmış bir makalede uzun alıntı &gt; Batı’nın zamanı ideal tarihin inşasının kurucu öğesi olarak görmesi, Engelhardt’ı zamanın ve tarihin dışında bir şimdi yaratmaya sevk eder:</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">Zira Engelharhdt’ın, komodin olarak kullandığı bir kütüğün üzerine yerleştirdiği ve bir anahtar vasıtasıyla düzenli bir şekilde kurduğu saati tek bir kum tanesi yüzünden geri kalmaktaydı, kum tanesi kendisine saatin içinde yay ile vızıldayan küçük bir dişli arasında rahat bir yer bulmuştu ve sert, öğütülmüş mercan iskeletinden meydana geldiği için Kabakon zamanının minimal ölçüde yavaşlamasında neden oluyordu (Kracht, 2012, s. 74)</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">12.    Kaynakça başlığı Almancada “Literaturverzeichnis”,  İngilizcede “References”, Türkçede “Kaynakça” olarak yazılmalıdır.</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">13.    Özlerin başlığı Almanca ve İngilizcede “Abstract”, Türkçede “Öz” olarak belirtilmelidir.</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">14.    Kitap adları vb. kısaltmalar kullanılacaksa mutlaka ilk kısaltıldığı yerde dipnot ile belirtilmelidir ve metnin devamında kısaltma olarak kullanılmalıdır.</div><div style="text-align: left;"><br/></div><div style="text-align: left;">Örnek: Kitap adı &gt; Verwirrung der Gefühle (Zweig, 1926) &gt; VG olarak kısatıldıysa metnin tamamında VG olarak kullanılmalıdır.</div><div style="text-align: left;"><br/></div><div style="text-align: left;">Belli bir dönemin adı &gt; World War I &gt; WWI olarak kısatıldıysa metnin tamamında WWI olarak kullanılmalıdır.</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">15.    Metinde vurgulamak istenen sözcükler/sözcük öbekleri makale dili Almanca ise ,...... ʽ İngilizce veya Türkçe ise ‘……’ işaretleri içinde verilmelidir.</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">Örnek: Almanca yazılmış bir makalede &gt; Haushofer perspektiviert die Natura us einem ,femininien Stanpunktʽ.</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">İngilizce yazılmış bir makalede &gt; As a matter of fact, this speaks about ‘hopelessness’ and ‘the way to uncertainty’.</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">Türkçe yazılmış bir makalede &gt; Romandaki adada dış dünyada akıp giden zamanın aksine bir tür ‘zamansızlık’ hüküm sürer.</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">16.    Bütün eser adları (Roman, Film, Şarkı, Dergi vs.) italik yazılır.</div><div style="text-align: left;"><br/></div><div style="text-align: left;">Örnek: Schachnovelle, Die Wand, Cosmopolitan, Frankfurter Allgemeine, Kaltes Klares Wasser</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">17.    Özel isimler/kişi adları italik ya da bold olmamalıdır.</div><div style="text-align: left;"><br/></div><div style="text-align: left;">18.    Başlık ve ara başlık kullanımı:</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">Makalede ara başlık kullanımı yazarın tercihine bırakılmıştır. Eğer ara başlık kullanılacaksa metinde bütünlüğün sağlanması için tüm ara başlıklar numaralandırılmalıdır ve metnin tamamında aynı sistem tercih edilmelidir. Sadece numaralardan oluşan ara başlıklar kullanılmamalıdır. Numaralandırmada yalnızca Arap rakamları (1, 2, 2.1, 2.2…) kullanılabilir. Romen rakamları, harfler veya farklı işaretler kullanılmamalıdır. Ara başlıklar makalenin tamamında bold yazılmalıdır. Başlıklarda eser adları kullanılacaksa mutlaka italik yazılmalıdır.</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">Örnek:</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">1 Einleitung</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">2 Erstes Kapitel</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">2.1       Erstes Unterkapitel des ersten Kapitels</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">2.2       Zweites Unterkapitel des ersten Kapitels</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">3  Zweites Kapitel</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">3.1       Erstes Unterkapitel des zweiten Kapitels</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">3.2       Zweites Unterkapitel des zweiten Kapitels</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">3.3       Drittes Unterkapitel des zweiten Kapitels</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">4 Drittes Kapitel</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">5 Schluss</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">Literaturverzeichnis</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">Anhang</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">19.    Kurallar dâhilinde dergimize yayınlanmak üzere gönderilen çalışmaların her türlü sorumluluğu yazar/yazarlarına aittir.</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">20.    Yayın kurulu ve hakem raporları doğrultusunda yazarlardan, metin üzerinde bazı düzeltmeler yapmaları istenebilir.</div></div><div><div style="text-align: left;"><br/></div><div style="text-align: left;">21.    Dergiye gönderilen çalışmalar yayınlansın veya yayınlanmasın geri gönderilmez.</div><p style="text-align: left;"><br/></p></div>

Yazım Kuralları

<p><span style="font-size: 10.0pt;">Makaleyi göndermeden önce Yazarlara Bilgi’yi lütfen okuyun ve aşağıdakilerin eksik olmadığından emin olun:</span></p><p><b><span style="font-size: 10.0pt;">Editöre mektup</span></b><span style="font-size: 10.0pt;"></span></p><ul type="disc">  <ul type="circle">   <li><span style="font-size: 10.0pt;">Makalenin türü</span></li>   <li><span style="font-size: 10.0pt;">Başka bir dergiye gönderilmemiş olduğu       bilgisi</span></li>   <li><span style="font-size: 10.0pt;">Sponsor veya ticari bir firma ile       ilişkisi (varsa belirtiniz)</span></li>   <li><span style="font-size: 10.0pt;">Kaynakların APA6’ya göre belirtildiği</span></li>   <li><span style="font-size: 10.0pt;">İngilizce yönünden kontrolünün yapıldığı</span></li>   <li><span style="font-size: 10.0pt;">Yazarlara Bilgide detaylı olarak       anlatılan dergi politikalarının gözden geçirildiği</span></li>  </ul> </ul><p><b><span style="font-size: 10.0pt;"><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/9A212C54F9F0458D801DE5E6BEC89A2C" target="_blank">Telif Hakkı Anlaşması Formu</a></span></b><span style="font-size: 10.0pt;"></span></p><p><b><span style="font-size: 10.0pt;">Daha önce basılmış material (yazı-resim-tablo) kullanılmış ise izin belgesi</span></b><span style="font-size: 10.0pt;"></span></p><p><b><span style="font-size: 10.0pt;">Makale kapak sayfasında olması gerekenler</span></b><span style="font-size: 10.0pt;"></span></p><p><b><span style="font-size: 10.0pt;"><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/F51E012016F041A6B9670EC702B90FDE" target="_blank">Makale kapak sayfası</a></span></b><span style="font-size: 10.0pt;"></span></p><ul type="disc">  <ul type="circle">   <li><span style="font-size: 10.0pt;">Makalenin kategorisi</span></li>   <li><span style="font-size: 10.0pt;">Makale dilinde ve İngilizce başlık</span></li>   <li><span style="font-size: 10.0pt;">Yazarların ismi soyadı, unvanları ve       bağlı oldukları kurumlar (üniversite ve fakülte bilgisinden sonar şehir       ve ülke bilgisi de yer almalıdır), e-posta adresleri</span></li>   <li><span style="font-size: 10.0pt;">Sorumlu yazarın e-posta adresi, açık       yazışma adresi ve telefonu</span></li>   <li><span style="font-size: 10.0pt;">Tüm yazarların ORCID’leri</span></li>  </ul> </ul><p><b><span style="font-size: 10.0pt;">Makalenin ana metni</span></b><span style="font-size: 10.0pt;"></span></p><ul type="disc">  <li><span style="font-size: 10.0pt;">Makale dilinde ve İngilizce başlık</span></li>  <li><span style="font-size: 10.0pt;">Özetler 200-250 kelime makale dilinde ve      200-250 kelime İngilizce</span></li><li>Makalelerin, özet(ler) ve genişletilmiş özet hariç, 5000 - 8000 kelime aralığında olması gerekmektedir.</li>  <li><span style="font-size: 10.0pt;">Anahtar Kelimeler: 3 makale dilinde ve 5      İngilizce</span></li>  <li><span style="font-size: 10.0pt;">İngilizce genişletilmiş özet (Extended      Abstract) 800-1000 kelime</span></li>  <li><span style="font-size: 10.0pt;">Makale ana metin bölümleri</span></li>  <li><span style="font-size: 10.0pt;">Finansal Destek (varsa belirtiniz)</span></li>  <li><span style="font-size: 10.0pt;">Çıkar Çatışması (varsa belirtiniz)</span></li>  <li><span style="font-size: 10.0pt;">Teşekkür (varsa belirtiniz)</span></li>  <li><span style="font-size: 10.0pt;">Kaynaklar</span></li>  <li><span style="font-size: 10.0pt;">Tablolar-Resimler, Şekiller (başlık,      tanım ve alt yazılarıyla)</span></li> </ul><p><b><span style="font-size: 10.0pt;color: red;">Makale Gönderme</span></b></p><p><b></b></p><p></p><ul type="disc">  <li style="text-align: left;"><span style="font-size: 10.0pt;">Makalenin      gönderileceği DergiPark sayfası adresi: <a href="https://dergipark.org.tr/tr/journal/35/submission/step/manuscript/new" target="_blank">https://dergipark.org.tr/tr/journal/35/submission/step/manuscript/new</a></span></li><li style="text-align: left;"><span style="font-size: 10.0pt;">Yapılan başvurularda, çalışmanın      sorumlu yazarının (corresponding author) hesabı kullanılmalıdır. Sorumlu      yazarın dışındaki yazarların ya da çalışmada yazar olarak yer almayan bir      başkasının hesabı kullanılmamalıdır. Başvuru ile ilgili bütün      yazışmalar DergiPark sistemi üzerinden gönderilen elektronik posta ile      sorumlu yazara iletilmektedir.</span></li>  <li style="text-align: left;"><b><span style="font-size: 10.0pt;">Makale ana metninin dosyasını      (Main Document)  yüklerken, çift taraflı kör hakem süreci      gereği, bu dosyanın yazar kimliğini deşifre eden hiçbir unsur      barındırmadığından emin olun. Makale ana metni dosyası (Main Document)      başlık sayfasını (Title Page) içermemeli; yazar adı geçen ya da yazar      adlarını ifşa edebilecek bölümler içermemeli (Örneğin: Teşekkür, her      sayfada tekrar eden ve yazar adlarını içerebilen başlık).</span></b><span style="font-size: 10.0pt;"></span></li> </ul><p></p><p></p><ul type="disc"><b> </b></ul><p></p><p></p><p></p><p></p><p></p><p><b><span style="font-size: 10.0pt;color: red;">Ayrı Ayrı Yüklemeniz gereken dosyalar:</span></b><span style="font-size: 10.0pt;color: red;"></span></p><ul type="disc">  <li><b><span style="font-size: 10.0pt;"><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/9A212C54F9F0458D801DE5E6BEC89A2C" target="_blank">Telif      Hakkı Anlaşması Formu</a></span></b><span style="font-size: 10.0pt;"></span></li>  <li><b><span style="font-size: 10.0pt;">Resim, Tablo vb başka kaynaktan alındıysa      izin belgesi</span></b><span style="font-size: 10.0pt;"></span></li>  <li><b><span style="font-size: 10.0pt;"><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/F51E012016F041A6B9670EC702B90FDE" target="_blank">Makale Kapak Sayfası</a></span></b><span style="font-size: 10.0pt;"></span></li>  <li><b><span style="font-size: 10.0pt;">Makale Ana Metni Dosyası</span></b><span style="font-size: 10.0pt;">  (Bu dosya aşağıdaki unsurları      içermelidir)</span></li> </ul><ul type="disc">  <ul type="circle">   <li><span style="font-size: 10.0pt;">Makale dilinde ve İngilizce başlık</span></li>   <li><span style="font-size: 10.0pt;">Özetler 200-250 kelime makale dilinde ve       200-250 kelime İngilizce</span></li><li>Makalelerin, özet(ler) ve genişletilmiş özet hariç, 5000 - 8000 kelime aralığında olması gerekmektedir.</li>   <li><span style="font-size: 10.0pt;">Anahtar Kelimeler: 3 makale dilinde ve 5       İngilizce</span></li>   <li><b><span style="font-size: 10.0pt;">İngilizce genişletilmiş Özet</span></b><span style="font-size: 10.0pt;"> (Extended       Abstract)  800-1000 kelime</span></li>   <li><span style="font-size: 10.0pt;">Makale ana metin bölümleri</span></li>   <li><span style="font-size: 10.0pt;">Finansal Destek (varsa belirtiniz)</span></li>   <li><span style="font-size: 10.0pt;">Çıkar Çatışması (varsa belirtiniz)</span></li>   <li><span style="font-size: 10.0pt;">Teşekkür (varsa belirtiniz)</span></li>   <li><span style="font-size: 10.0pt;">Kaynaklar</span></li>   <li><span style="font-size: 10.0pt;">Tablolar-Resimler, Şekiller (başlık,       tanım ve alt yazılarıyla)</span></li></ul></ul><ul type="disc"> </ul>

<p><span style="font-size: 10.0pt;">Derleme yazıları okuyucular için bir konudaki kaynaklara ulaşmayı kolaylaştıran bir araç olsa da, her zaman orijinal çalışmayı doğru olarak yansıtmaz. Bu yüzden mümkün olduğunca yazarlar orijinal çalışmaları kaynak göstermelidir. Öte yandan, bir konuda çok fazla sayıda orijinal çalışmanın kaynak gösterilmesi yer israfına neden olabilir. Birkaç anahtar orijinal çalışmanın kaynak gösterilmesi genelde uzun listelerle aynı işi görür. Ayrıca günümüzde kaynaklar elektronik versiyonlara eklenebilmekte ve okuyucular elektronik literatür taramalarıyla yayınlara kolaylıkla ulaşabilmektedir.</span></p><p><span style="font-size: 10.0pt;">Kabul edilmiş ancak henüz sayıya dahil edilmemiş makaleler Early View olarak yayınlanır ve bu makalelere atıflar “advance online publication” şeklinde verilmelidir. Genel bir kaynaktan elde edilemeyecek temel bir konu olmadıkça “kişisel iletişimlere” atıfta bulunulmamalıdır. Eğer atıfta bulunulursa parantez içinde iletişim kurulan kişinin adı ve iletişimin tarihi belirtilmelidir. Bilimsel makaleler için yazarlar bu kaynaktan yazılı izin ve iletişimin doğruluğunu gösterir belge almalıdır.</span></p><p><b><span style="font-size: 10.0pt;">Referans Stili ve Formatı</span></b><span style="font-size: 10.0pt;"></span></p><p><span style="font-size: 10.0pt;">Alman Dili ve Edebiyatı Dergisi - Studien zur deutschen Sprache und Literatur, metin içi alıntılama ve kaynak gösterme için APA (American Psychological Association) kaynak sitilinin 6. edisyonunu benimser. APA 6.Edisyon hakkında bilgi için:</span></p><p><span style="font-size: 10.0pt;">-    American Psychological Association. (2010). Publication manual of the American Psychological Association (6<sup>th</sup> ed.). Washington, DC: APA.</span></p><p><span style="font-size: 10.0pt;">-    <a href="http://www.apastyle.org/" target="_blank">https://apastyle.apa.org/6th-edition-resources</a></span></p><p><span style="font-size: 10.0pt;">Kaynakların doğruluğundan yazar(lar) sorumludur. Tüm kaynaklar metinde belirtilmelidir. Kaynaklar aşağıdaki örneklerdeki gibi gösterilmelidir.</span></p><p><b><span style="font-size: 10.0pt;">Metin İçinde Kaynak Gösterme</span></b><span style="font-size: 10.0pt;"></span></p><p><span style="font-size: 10.0pt;">Kaynaklar metinde parantez içinde yazarların soyadı ve yayın tarihi yazılarak belirtilmelidir. Birden fazla kaynak gösterilecekse kaynaklar arasında (;) işareti kullanılmalıdır. Kaynaklar alfabetik olarak sıralanmalıdır.</span></p><p><b><span style="font-size: 10.0pt;">Örnekler:</span></b><span style="font-size: 10.0pt;"></span></p><p><b><i><span style="font-size: 9.0pt;">Birden fazla kaynak;</span></i></b><span style="font-size: 9.0pt;"></span></p><p><span style="font-size: 9.0pt;">(Esin ve ark., 2002; Karasar 1995)</span></p><p><b><i><span style="font-size: 9.0pt;">Tek yazarlı kaynak;</span></i></b><span style="font-size: 9.0pt;"></span></p><p><span style="font-size: 9.0pt;">(Akyolcu, 2007)</span></p><p><b><i><span style="font-size: 9.0pt;">İki yazarlı kaynak;</span></i></b><span style="font-size: 9.0pt;"></span></p><p><span style="font-size: 9.0pt;">(Sayıner ve Demirci 2007, s. 72)</span></p><p><b><i><span style="font-size: 9.0pt;">Üç, dört ve beş yazarlı kaynak;</span></i></b><span style="font-size: 9.0pt;"></span></p><p><span style="font-size: 9.0pt;">Metin içinde ilk kullanımda: (Ailen, Ciambrune ve Welch 2000, s. 12–13) Metin içinde tekrarlayan kullanımlarda: (Ailen ve ark., 2000)</span></p><p><b><i><span style="font-size: 9.0pt;">Altı ve daha çok yazarlı kaynak;</span></i></b><span style="font-size: 9.0pt;"></span></p><p><span style="font-size: 9.0pt;">(Çavdar ve ark., 2003)</span></p><p><b><span style="font-size: 9.0pt;">Kaynaklar Bölümünde Kaynak Gösterme</span></b><span style="font-size: 9.0pt;"></span></p><p><span style="font-size: 9.0pt;">Kullanılan tüm kaynaklar metnin sonunda ayrı bir bölüm halinde yazar soyadlarına göre alfabetik</span></p><p><span style="font-size: 9.0pt;">olarak numaralandırılmadan verilmelidir. Kaynak yazımı ile ilgili örnekler aşağıda verilmiştir.</span></p><p><b><span style="font-size: 9.0pt;">Kitap</span></b><span style="font-size: 9.0pt;"></span></p><p><b><i><span style="font-size: 9.0pt;">a) Türkçe Kitap</span></i></b><span style="font-size: 9.0pt;"></span></p><p><span style="font-size: 9.0pt;">Karasar, N. (1995). <i>Araştırmalarda rapor hazırlama</i> (8.bs). Ankara: 3A Eğitim Danışmanlık Ltd.</span></p><p><b><i><span style="font-size: 9.0pt;">b) Türkçeye Çevrilmiş Kitap</span></i></b><span style="font-size: 9.0pt;"></span></p><p><span style="font-size: 9.0pt;">Mucchielli, A. (1991). <i>Zihniyetler</i> (A. Kotil, Çev.). İstanbul: İletişim Yayınları.</span></p><p><b><i><span style="font-size: 9.0pt;">c) Editörlü Kitap</span></i></b><span style="font-size: 9.0pt;"></span></p><p><span style="font-size: 9.0pt;">Ören, T., Üney, T. ve Çölkesen, R. (Ed.). (2006). <i>Türkiye bilişim ansiklopedisi.</i> İstanbul: Papatya Yayıncılık.</span></p><p><b><i><span style="font-size: 9.0pt;">d) Çok Yazarlı Türkçe Kitap</span></i></b><span style="font-size: 9.0pt;"></span></p><p><span style="font-size: 9.0pt;">Tonta, Y., Bitirim, Y. ve Sever, H. (2002). <i>Türkçe arama motorlarında performans değerlendirme.</i> Ankara: Total Bilişim.</span></p><p><b><i><span style="font-size: 9.0pt;">e) İngilizce Kitap</span></i></b><span style="font-size: 9.0pt;"></span></p><p><span style="font-size: 9.0pt;">Kamien R., &amp; Kamien A. (2014). <i>Music: An appreciation.</i> New York, NY: McGraw-Hill Education.</span></p><p><b><i><span style="font-size: 9.0pt;">f) İngilizce Kitap İçerisinde Bölüm</span></i></b><span style="font-size: 9.0pt;"></span></p><p><span style="font-size: 9.0pt;">Bassett, C. (2006). Cultural studies and new media. In G. Hall &amp; C. Birchall (Eds.), <i>New cultural studies: Adventures in theory</i> (pp. 220–237). Edinburgh, UK: Edinburgh University Press.</span></p><p><b><i><span style="font-size: 9.0pt;">g) Türkçe Kitap İçerisinde Bölüm</span></i></b><span style="font-size: 9.0pt;"></span></p><p><span style="font-size: 9.0pt;">Erkmen, T. (2012). Örgüt kültürü: Fonksiyonları, öğeleri, işletme yönetimi ve liderlikteki önemi. M. Zencirkıran (Ed.), <i>Örgüt sosyolojisi kitabı </i>içinde (s. 233–263). Bursa: Dora Basım Yayın.</span></p><p><b><i><span style="font-size: 9.0pt;">h) Yayımcının ve Yazarın Kurum Olduğu Yayın</span></i></b><span style="font-size: 9.0pt;"></span></p><p><span style="font-size: 9.0pt;">Türk Standartları Enstitüsü. (1974). <i>Adlandırma ilkeleri. </i>Ankara: Yazar.</span></p><p><b><span style="font-size: 9.0pt;">Makale</span></b><span style="font-size: 9.0pt;"></span></p><p><b><i><span style="font-size: 9.0pt;">a) Türkçe Makale</span></i></b><span style="font-size: 9.0pt;"></span></p><p><span style="font-size: 9.0pt;">Mutlu, B. ve Savaşer, S. (2007). Çocuğu ameliyat sonrası yoğun bakımda olan ebeveynlerde stres nedenleri ve azaltma girişimleri. <i>İstanbul Üniversitesi Florence Nightingale Hemşirelik Dergisi, 15</i>(60), 179–182.</span></p><p><b><i><span style="font-size: 9.0pt;">b) İngilizce Makale</span></i></b><span style="font-size: 9.0pt;"></span></p><p><span style="font-size: 9.0pt;">de Cillia, R., Reisigl, M., &amp; Wodak, R. (1999). The discursive construction of national identity. <i>Discourse and Society, 10</i>(2), 149–173. http://dx.doi.org/10.1177/0957926599010002002</span></p><p><b><i><span style="font-size: 9.0pt;">c) Yediden Fazla Yazarlı Makale</span></i></b><span style="font-size: 9.0pt;"></span></p><p><span style="font-size: 9.0pt;">Lal, H., Cunningham, A. L., Godeaux, O., Chlibek, R., Diez-Domingo, J., Hwang, S.-J. ... Heineman, T. C. (2015). Efficacy of an adjuvanted herpes zoster subunit vaccine in older adults. <i>New England Journal of Medicine, 372,</i> 2087–2096. http://dx.doi.org/10.1056/NEJMoa1501184</span></p><p><b><i><span style="font-size: 9.0pt;">d) DOI’si Olmayan Online Edinilmiş Makale</span></i></b><span style="font-size: 9.0pt;"></span></p><p><span style="font-size: 9.0pt;">Al, U. ve Doğan, G. (2012). Hacettepe Üniversitesi Bilgi ve Belge Yönetimi Bölümü tezlerinin atıf analizi. T<i>ürk Kütüphaneciliği, 26,</i> 349–369. Erişim adresi: http://www.tk.org.tr/</span></p><p><b><i><span style="font-size: 9.0pt;">e) DOI’si Olan Makale</span></i></b><span style="font-size: 9.0pt;"></span></p><p><span style="font-size: 9.0pt;">Turner, S. J. (2010). Website statistics 2.0: Using Google Analytics to measure library website effectiveness. <i>Technical Services Quarterly, 27, </i>261–278. http://dx.doi.org/10.1080/07317131003765910</span></p><p><b><i><span style="font-size: 9.0pt;">f) Advance Online Olarak Yayımlanmış Makale</span></i></b><span style="font-size: 9.0pt;"></span></p><p><span style="font-size: 9.0pt;">Smith, J. A. (2010). Citing advance online publication: A review. <i>Journal of Psychology.</i> Advance online publication. http://dx.doi.org/10.1037/a45d7867</span></p><p><b><i><span style="font-size: 9.0pt;">g) Popüler Dergi Makalesi</span></i></b><span style="font-size: 9.0pt;"></span></p><p><span style="font-size: 9.0pt;">Semercioğlu, C. (2015, Haziran). Sıradanlığın rayihası. <i>Sabit Fikir,</i> <i>52,</i> 38–39.</span></p><p><b><span style="font-size: 9.0pt;">Tez, Sunum, Bildiri</span></b><span style="font-size: 9.0pt;"></span></p><p><b><i><span style="font-size: 9.0pt;">a) Türkçe Tezler</span></i></b><span style="font-size: 9.0pt;"></span></p><p><span style="font-size: 9.0pt;">Sarı, E. (2008). <i>Kültür kimlik ve politika: Mardin’de kültürlerarasılık. </i>(Doktora Tezi). Ankara Üniversitesi Sosyal Bilimler Enstitüsü, Ankara.</span></p><p><b><i><span style="font-size: 9.0pt;">b)Ticari Veritabanında Yer Alan Yüksek Lisans Ya da Doktora Tezi</span></i></b><span style="font-size: 9.0pt;"></span></p><p><span style="font-size: 9.0pt;">Van Brunt, D. (1997). <i>Networked consumer health information systems</i> (Doctoral dissertation). Available from ProQuest Dissertations and Theses. (UMI No. 9943436)</span></p><p><b><i><span style="font-size: 9.0pt;">c) Kurumsal Veritabanında Yer Alan İngilizce Yüksek Lisans/Doktora Tezi</span></i></b><span style="font-size: 9.0pt;"></span></p><p><span style="font-size: 9.0pt;">Yaylalı-Yıldız, B. (2014). <i>University campuses as places of potential publicness: Exploring the politicals, social and cultural practices in Ege University</i> (Doctoral dissertation). Retrieved from Retrieved from: http://library.iyte.edu.tr/tr/hizli-erisim/iyte-tez-portali</span></p><p><b><i><span style="font-size: 9.0pt;">d) Web’de Yer Alan İngilizce Yüksek Lisans/Doktora Tezi</span></i></b><span style="font-size: 9.0pt;"></span></p><p><span style="font-size: 9.0pt;">Tonta, Y. A. (1992). <i>An analysis of search failures in online library catalogs</i> (Doctoral dissertation, University of California, Berkeley). Retrieved from http://yunus.hacettepe.edu.tr/~tonta/yayinlar/phd/ickapak.html</span></p><p><b><i><span style="font-size: 9.0pt;">e) Dissertations Abstracts International’da Yer Alan Yüksek Lisans/Doktora Tezi</span></i></b><span style="font-size: 9.0pt;"></span></p><p><span style="font-size: 9.0pt;">Appelbaum, L. G. (2005). Three studies of human information processing: Texture amplifica&#173;tion, motion representation, and figure-ground segregation. <i>Dissertation Abstracts International: Section B. Sciences and Engineering, 65</i>(10), 5428.</span></p><p><b><i><span style="font-size: 9.0pt;">f) Sempozyum Katkısı</span></i></b><span style="font-size: 9.0pt;"></span></p><p><span style="font-size: 9.0pt;">Krinsky-McHale, S. J., Zigman, W. B. &amp; Silverman, W. (2012, August). Are neuropsychiatric symptoms markers of prodromal Alzheimer’s disease in adults with Down syndrome? In W. B. Zigman (Chair), <i>Predictors of mild cognitive impairment, dementia, and mortality in adults with Down syndrome.</i> Symposium conducted at American Psychological Association meeting, Orlando, FL.</span></p><p><b><i><span style="font-size: 9.0pt;">g) Online Olarak Erişilen Konferans Bildiri Özeti</span></i></b><span style="font-size: 9.0pt;"></span></p><p><span style="font-size: 9.0pt;">Çınar, M., Doğan, D. ve Seferoğlu, S. S. (2015, Şubat). <i>Eğitimde dijital araçlar: Google sınıf uygulaması üzerine bir değerlendirme</i> [Öz]. Akademik Bilişim Konferansında sunulan bildiri, Anadolu Üniversitesi, Eskişehir. Erişim adresi: http://ab2015.anadolu.edu.tr /index.php?menu=5&amp;submenu=27</span></p><p><b><i><span style="font-size: 9.0pt;">h) Düzenli Olarak Online Yayımlanan Bildiriler</span></i></b><span style="font-size: 9.0pt;"></span></p><p><span style="font-size: 9.0pt;">Herculano-Houzel, S., Collins, C. E., Wong, P., Kaas, J. H., &amp; Lent, R. (2008). The basic nonuniformity of the cerebral cortex. <i>Proceedings of the National Academy of Sciences, 105, </i>12593–12598. http://dx.doi.org/10.1073/pnas.0805417105</span></p><p><b><i><span style="font-size: 9.0pt;">i) Kitap Şeklinde Yayımlanan Bildiriler</span></i></b><span style="font-size: 9.0pt;"></span></p><p><span style="font-size: 9.0pt;">Schneider, R. (2013). Research data literacy. S. Kurbanoğlu ve ark. (Ed.), Communications in Computer and Information Science: Vol. 397. <i>Worldwide Communalities and Challenges in Information Literacy Research and Practice</i> içinde (s. 134–140). Cham, İsviçre: Springer.<br/> http://dx.doi.org/10.1007/978-3-319-03919-0</span></p><p><b><i><span style="font-size: 9.0pt;">j) Kongre Bildirisi</span></i></b><span style="font-size: 9.0pt;"></span></p><p><span style="font-size: 9.0pt;">Çepni, S., Bacanak A. ve Özsevgeç T. (2001, Haziran). <i>Fen bilgisi öğretmen adaylarının fen branşlarına karşı tutumları ile fen branşlarındaki başarılarının ilişkisi.</i> X. Ulusal Eğitim Bilimleri Kongresi’nde sunulan bildiri, Abant İzzet Baysal Üniversitesi, Bolu</span></p><p><b><span style="font-size: 9.0pt;">Diğer Kaynaklar</span></b><span style="font-size: 9.0pt;"></span></p><p><b><i><span style="font-size: 9.0pt;">a) Gazete Yazısı</span></i></b><span style="font-size: 9.0pt;"></span></p><p><span style="font-size: 9.0pt;">Toker, Ç. (2015, 26 Haziran). ‘Unutma’ notları. <i>Cumhuriyet,</i> s. 13.</span></p><p><b><i><span style="font-size: 9.0pt;">b) Online Gazete Yazısı</span></i></b><span style="font-size: 9.0pt;"></span></p><p><span style="font-size: 9.0pt;">Tamer, M. (2015, 26 Haziran). E-ticaret hamle yapmak için tüketiciyi bekliyor. <i>Milliyet.</i> Erişim adresi: http://www.milliyet</span></p><p><b><i><span style="font-size: 9.0pt;">c) Web Page/Blog Post</span></i></b><span style="font-size: 9.0pt;"></span></p><p><span style="font-size: 9.0pt;">Bordwell, D. (2013, June 18). David Koepp: Making the world movie-sized [Web log post]. Retrieved from http://www.davidbordwell.net/blog/page/27/</span></p><p><b><i><span style="font-size: 9.0pt;">d) Online Ansiklopedi/Sözlük</span></i></b><span style="font-size: 9.0pt;"></span></p><p><span style="font-size: 9.0pt;">Bilgi mimarisi. (2014, 20 Aralık). Vikipedi içinde. Erişim adresi: http://tr.wikipedia.org/wiki/Bilgi_mimarisi</span></p><p><span style="font-size: 9.0pt;">Marcoux, A. (2008). Business ethics. In E. N. Zalta (Ed.), <i>The Stanford encyclopedia of philosophy</i>. Retrieved from http://plato.stanford.edu/entries/ethics-business/</span></p><p><b><i><span style="font-size: 9.0pt;">e) Podcast</span></i></b><span style="font-size: 9.0pt;"></span></p><p><span style="font-size: 9.0pt;">Radyo ODTÜ (Yapımcı). (2015, 13 Nisan). <i>Modern sabahlar</i> [Podcast]. Erişim adresi: http://www.radyoodtu.com.tr/</span></p><p><b><i><span style="font-size: 9.0pt;">f) Bir Televizyon Dizisinden Tek Bir Bölüm</span></i></b><span style="font-size: 9.0pt;"></span></p><p><span style="font-size: 9.0pt;">Shore, D. (Senarist), Jackson, M. (Senarist) ve Bookstaver, S. (Yönetmen). (2012). Runaways [Televizyon dizisi bölümü]. D. Shore (Baş yapımcı), <i>House M.D.</i> içinde. New York, NY: Fox Broadcasting.</span></p><p><b><i><span style="font-size: 9.0pt;">g) Müzik Kaydı</span></i></b><span style="font-size: 9.0pt;"></span></p><p><span style="font-size: 9.0pt;">Say, F. (2009). Galata Kulesi. <i>İstanbul senfonisi</i> [CD] içinde. İstanbul: Ak Müzik.</span></p><p><span style="font-size: 9.0pt;">Yukarıda sıralanan koşulları yerine getirmemiş çalışma kabul edilmez, eksiklerinin tamamlanması için yazara iade edilir. Yayın Komisyonu tarafından kabul edilen yazılar basıma kabul sırasına göre yayınlanır. Baskı tashihleri yazarlar tarafından yapılır.</span></p><p><span style="font-size: 10.0pt;"></span></p>

<p><span style="font-size: 10.0pt;">Aşağıdaki listede eksik olmadığından emin olun:</span><span style="font-size: 10.0pt;"></span></p><p><span style="font-size: 10.0pt;">●    <b>Editöre mektup</b></span><span style="font-size: 10.0pt;"></span></p><p><span style="font-size: 10.0pt;">ü</span><span style="font-size: 10.0pt;">    Makalenin türü</span><span style="font-size: 10.0pt;"></span></p><p><span style="font-size: 10.0pt;">ü</span><span style="font-size: 10.0pt;">    Başka bir dergiye gönderilmemiş olduğu bilgisi</span><span style="font-size: 10.0pt;"></span></p><p><span style="font-size: 10.0pt;">ü</span><span style="font-size: 10.0pt;">    Sponsor veya ticari bir firma ile ilişkisi (varsa belirtiniz)</span><span style="font-size: 10.0pt;"></span></p><p><span style="font-size: 10.0pt;">ü</span><span style="font-size: 10.0pt;">    İngilizce yönünden kontrolünün yapıldığı</span><span style="font-size: 10.0pt;"></span></p><p><span style="font-size: 10.0pt;">ü</span><span style="font-size: 10.0pt;">    Yazarlara Bilgide detaylı olarak anlatılan dergi politikalarının gözden geçirildiği</span><span style="font-size: 10.0pt;"></span></p><p><span style="font-size: 10.0pt;">ü</span><span style="font-size: 10.0pt;">    Metin içi atıfların ve kaynakların APA 6 ile uyumlu olarak gösterildiği</span><span style="font-size: 10.0pt;"></span></p><p><b><span style="font-size: 10.0pt;">●    <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/9A212C54F9F0458D801DE5E6BEC89A2C" target="_blank">Telif Hakkı Anlaşması Formu</a></span><span style="font-size: 10.0pt;"></span></b></p><p><b><span style="font-size: 10.0pt;">●    Daha önce basılmış materyal (yazı-resim-tablo) kullanılmış ise izin belgesi</span><span style="font-size: 10.0pt;"></span></b></p><p><span style="font-size: 10.0pt;"><b>●    </b><b><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/9003698C8F5344C3A8E741FF8484464F" target="_blank">Makale Kapak sayfası</a></b></span><span style="font-size: 10.0pt;"></span></p><p><span style="font-size: 10.0pt;">ü</span><span style="font-size: 10.0pt;">    Makalenin kategorisi</span><span style="font-size: 10.0pt;"></span></p><p><span style="font-size: 10.0pt;">ü</span><span style="font-size: 10.0pt;">    Makale dilinde ve İngilizce başlık</span><span style="font-size: 10.0pt;"></span></p><p><span style="font-size: 10.0pt;">ü</span><span style="font-size: 10.0pt;">    Yazarların ismi soyadı, unvanları ve bağlı oldukları kurumlar (üniversite ve fakülte</span><span style="font-size: 10.0pt;"></span></p><p><span style="font-size: 10.0pt;">bilgisinden sonra şehir ve ülke bilgisi de yer almalıdır), e-posta adresleri</span><span style="font-size: 10.0pt;"></span></p><p><span style="font-size: 10.0pt;">ü</span><span style="font-size: 10.0pt;">    Sorumlu yazarın e-posta adresi, açık yazışma adresi, telefonu</span><span style="font-size: 10.0pt;"></span></p><p><span style="font-size: 10.0pt;">ü</span><span style="font-size: 10.0pt;">    Tüm yazarların ORCID’leri</span><span style="font-size: 10.0pt;"></span></p><p><span style="font-size: 10.0pt;"><b>●    Makale ana metni</b></span><span style="font-size: 10.0pt;"></span></p><p><span style="font-size: 10.0pt;">ü</span><span style="font-size: 10.0pt;">    Makale dilinde ve İngilizce başlık</span><span style="font-size: 10.0pt;"></span></p><p><span style="font-size: 10.0pt;">ü</span><span style="font-size: 10.0pt;">    Özetler 200-250 kelime makale dilinde ve 200-250 kelime İngilizce</span><span style="font-size: 10.0pt;"></span></p><p><span style="font-size: 10.0pt;">ü</span><span style="font-size: 10.0pt;">    Anahtar Kelimeler: 3 adet makale dilinde ve 5 adet İngilizce</span><span style="font-size: 10.0pt;"></span></p><p><span style="font-size: 10.0pt;">ü</span><span style="font-size: 10.0pt;">    İngilizce genişletilmiş Özet (Extended Abstract) 800-1000 kelime </span><span style="font-size: 10.0pt;"></span></p><p></p><p>ü    <span style="font-size: 13.3333px;float: none;">Makalelerin, özet(ler) ve genişletilmiş özet hariç, 5000 - 8000 kelime aralığında olması gerekmektedir.</span><br/></p><p></p><p><span style="font-size: 10.0pt;">ü</span><span style="font-size: 10.0pt;">    Makale ana metin bölümleri</span><span style="font-size: 10.0pt;"></span></p><p><span style="font-size: 10.0pt;">ü</span><span style="font-size: 10.0pt;">    Finansal Destek (varsa belirtiniz)</span></p><p><span style="font-size: 10.0pt;">ü</span><span style="font-size: 10.0pt;">    Çıkar Çatışması (varsa belirtiniz)</span></p><p><span style="font-size: 10.0pt;">ü</span><span style="font-size: 10.0pt;">    Teşekkür (varsa belirtiniz)</span><span style="font-size: 10.0pt;"></span></p><p><span style="font-size: 10.0pt;">ü</span><span style="font-size: 10.0pt;">    Son notlar (varsa belirtiniz)</span><span style="font-size: 10.0pt;"></span></p><p><span style="font-size: 10.0pt;">ü</span><span style="font-size: 10.0pt;">    Kaynaklar</span><span style="font-size: 10.0pt;"></span></p><p><span style="font-size: 10.0pt;">ü</span><span style="font-size: 10.0pt;">    Tablolar-Resimler, Şekiller (başlık, tanım ve alt yazılarıyla)</span><span style="font-size: 10.0pt;"></span></p><p><br/></p>

<p><b><span style="font-size: 10.0pt;"><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/9A212C54F9F0458D801DE5E6BEC89A2C" target="_blank">Telif Hakkı Anlaşması Formu</a></span></b></p><p><b><span style="font-size: 10.0pt;"><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/5B6411254C504C48858AA63B8F466E24" target="_blank">Makale kapak sayfası</a></span></b><span style="font-size: 10.0pt;"></span></p><p><b><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/F715CADC86824451A7084A0ACEA2EB6F" target="_blank">Yazar Formu</a></b></p>

Sayı Türü	Regular
Editör(ler)	İrem Atasoy, Barış Konukman
Kapak (PDF)
Tam Metin (PDF)
Ön Sayfalar (PDF)